皮肉なサキが聴いた “Bullet from a Gun”

Thomas Geelens · Country Pop

Listen on Spotify2026-02-24

5.9 / 10

Full Truthスコア

“Thomas said he wanted "each section to feel like a different movie-scene." Well, mission partially accomplished — it feels like a movie where the main character has one personality trait (running) and one piece of dialogue ("she ain't ever going home"). The girl lights a cigarette, drives a highway, kisses new lips, sells her furniture. It's cinematic, sure. But it's a montage without a plot. She's running faster than a bullet from a gun, but we never learn what she's running TO. And that matters more than what she's running from.”

良い面

“The verse imagery is genuinely strong. "She lights a cigarette, puts one hand on the steering wheel" — you can SEE that. "From the couch to the sheets that they've been sleeping in" — you can FEEL that. When you let yourself be specific, you're actually good at this.”

発見された問題 (5)

1. "Faster Than a Bullet from a Gun" — Redundancy as a Title

証拠

"Faster than a bullet from a gun" — As opposed to a bullet from what, Thomas? A toaster? A strongly worded letter? ALL bullets come from guns. That's what makes them bullets. "Faster than a bullet" says exactly the same thing in fewer words. You added "from a gun" purely for syllable count, and it shows.

推奨される修正

Keep "faster than a bullet" if you need the metaphor, or find a more original comparison for speed and escape. "Faster than a rumor through a small town" — country, specific, and it actually adds meaning to the escape narrative.

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2. "She Ain't Ever Going Home" Said Five Times Too Many

証拠

The phrase "she ain't ever going home" or "never going home" appears in the intro, every chorus, and the outro. We counted. Seven times. By the third chorus, it's not a dramatic statement anymore — it's a GPS recalculating. "She's never going home" — yes, Thomas, we know. You've told us. Repeatedly. While making intense eye contact.

推奨される修正

Let the chorus evolve. First time: "she ain't ever going home." Second time: maybe she's building a new one. Third time: maybe she realizes she IS home. A story needs progression, not a broken record.

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3. "Kissing Brand New Lips and Trusting Brand New Eyes" — Parts Catalogue

証拠

"Now she's kissing brand new lips and trusting brand new eyes" — You've broken people down into component parts again. She's not meeting new PEOPLE; she's encountering new LIPS and new EYES. It's like she's at a body shop, not starting a new chapter. And "I'm sure that they don't realise it's in her eyes" — what is? The pain? The past? You never specify.

推奨される修正

Let the new people be people, not collections of facial features. "She's learning someone else's laugh" tells us way more about moving on than "kissing brand new lips" ever could.

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4. The Bridge Explains What We Already Understood

証拠

"She needs a little while to better understand / why she left her heart in someone else's hands" — Thank you, Thomas, for the thesis statement. We gathered from the two verses of her running away from an ex that she was, in fact, processing a breakup. The bridge is supposed to deepen the story, not recap it for people who just tuned in.

推奨される修正

Use the bridge for a moment of contradiction or surprise. She's been running the whole song — what if the bridge is the moment she stops? A rest stop at 3 AM, staring at her phone, almost calling him. THAT'S a movie scene.

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5. "If the Lyrics Get Messed Up She Won't Give Up and Sing Along"

証拠

This is a cute detail in verse 1. But the irony is thick: you're describing someone who keeps singing even when the words are wrong, and then you repeat the same chorus four times without changing a word. She's braver about lyrics than you are.

推奨される修正

Practice what you preach. Let the chorus lyrics evolve, get messier, more desperate, more free — like someone actually singing along to a song they're half-forgetting. Mirror the character's journey in the song's structure.

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