Pink
Chemlab Lyrics

Darkness, and a scratching, whirring noise.
The beginning of the film has no image, and we only hear a sound of a machine working in the background.

Darkness, and then, slowly, the pictures shudder up in sight.
After a while, the film's images start to appear, moving abruptly and making a weird noise.

A building string of images like silvery bubbles surfing up from the deep.
The film's sequence follows one after the other, creating the illusion of silvery bubbles during underwater scenes.

It's almost always raining, drizzling, misting, slightly, lightly, heavily, but almost always dripping. The kitchen faucet marking time.
The weather in the film is almost constantly rainy or misty, and you can hear the sound of a dripping kitchen faucet in the background.

Camera pans across it through washed out black and white tin-tack. Across the dark, the color a saturated smear; The Lighting Director's guiding the highlights all the time.
The camera slowly moves over a black and white scene, with pale and limited colors. The Lighting Director has control over the high contrast of the image.

The print is scratchy and smells mildewy... too much rain. Stomach's empty... the fridge is a booming echo chamber.
The film projection is old, and it has scratches and smells musty due to improper storage. The singer is hungry, and the empty fridge makes the sound echo.

They edit in stock horror darkening footage of starvation, atrocities, Vietnam war footage, descending through it. the crackling of outtake sections litter the stairwell, serpentine and yet brittle, a close crop.
The editors include horrifying scenes from other films, such as footage of the Vietnam War or other atrocities. These scenes are cut abruptly and create a tense atmosphere. The imperfect production makes the film's behind-the-scenes footage look like it has a snake-like shape and a fragile structure.

Zoom to feet descending, descending, frames skipping and jumping in vertical crash scratching.
The camera focuses on feet going down, and the sequence is cut quickly with a vertical pattern, generating a scratching sound effect.

The hallway to street sub-lit in shadow, casting rotting thick as broken glass shards, and the reflections sparkle in the rain-speckled sidewalk. It's always raining. But that's the way this film runs.
The hallway leading to the street is illuminated with dim light, and the shadows look broken like shards of glass. You can see the reflection of the rain on the sidewalk. Rain is still pouring, but that's a consistent element of the film's narrative.

The scenes seem clear, but the final print is always too grainy or scratched... Blurs the longer you watch it and finally just falls away to clips and snapshots of its former glory.
The film looks clear initially, but as time passes, the quality deteriorates, appearing grainy and scratched. It becomes blurry eventually, and you can only see portions of its original quality.

Loop that frames the whole world outside, often running in slow motion. Perhaps the projectionist has nodded off in a stupor during the last showing, his elbow hitting a switch, and for a second, or a week, the world runs in reverse, the images all silent, filmed and jerking nervously back across the streets.
The film frames the outside world, and the sequence can be in slow motion. It's possible that the projectionist fell asleep and accidentally reversed the reel. In this case, the outside world images would appear jerky and silent.

Seems like the reel is always running backwards. Time is fiction. Time is fiction.
The artist suggests that it appears as if the film is always in reverse. This idea conveys that the film has distorted views of reality, and the concept of time in this world is not accurate.

So, why don't you come lay down with me in this pitch-bending film loop, and let the acid rain beat down on our bodies.
The singer invites someone to join them in the surreal film's universe, where there is a constant rain of acid. They want to lay back and experience this intense scene together.