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Artist/Band:
Leopold I.
Lyrics for Song: Kinderšpil
Lyrics for Album: Kinderšpil
Vsi otroci radi plešejo na rap
Razen Veronike, njej so všeč harmonike
Vsi otroci pridejo na naš koncert
Razen Beno, ker je emo
Vsi otroci radi pijejo iz flaše
Razen Blaža, un rajši pije iz glaža
Vsi otroci lehko jejo kaj jim paše
Razen Jana, ker starša sta vegana
Vsi otroci majo radi stračetelo
Razen Mance, zarad laktozne intolerance
Vsi otroci pridno hodijo na delo
Razen Anke, una ropa banke
Vsi otroci do opravili diplomo
Razen Milka, Milka de čistilka
Vsi otroci so enaki pred zakonom
Razen Mare, ker ma pare
Kdo nabija taka zvočnike je skura?
Keri pleše, ko je policiska vura?
Kdo ne ide spat, ko bi moga iti?
In kdo od koga doba de po riti?
Kdo nabija taka zvočnike je skura?
Keri pleše, ko je policiska vura?
Kdo ne ide spat, ko bi moga iti?
In kdo od koga doba de po riti?
Vsi otroci majo avte in motore
Razen Majki, ki fura se z bajki
Vsi otroci grejo v kemping v šotore
Razen Darko, ki ma privatno barko
Vsi otroci so dojeli evolucijo
Razen Žana, ki vzgojen je v kristjana
Vsi otroci si želijo revolucijo
Razen Franca, ker fotra ma poslanca
Vsi otroci majo radi vse otroke
Razen Branke, ki voli desne stranke
Vsi otroci zaj zazibali so boke
Razen Jure, Jure riše špure
Vsi otroci so prisebni in navzoči
Razen Matije, ker opet preveč pije
Vsi otroci radi žurajo ponoči
Razen Kaje, ki kliče policaje
Kdo nabija taka zvočnike je skura?
Keri pleše, ko je policiska vura?
Kdo ne ide spat, ko bi moga iti?
In kdo od koga doba de po riti?
Kdo nabija taka zvočnike je skura?
Keri pleše, ko je policiska vura?
Kdo ne ide spat, ko bi moga iti?
In kdo od koga doba de po riti?
Kdo nabija taka zvočnike je skura?
Keri pleše, ko je policiska vura?
Kdo ne ide spat, ko bi moga iti?
In kdo od koga doba de po riti?
Kdo nabija taka zvočnike je skura?
Keri pleše, ko je policiska vura?
Kdo ne ide spat, ko bi moga iti?
In kdo od koga doba de po riti? |
About Kinderšpil
"Kinderšpil" finds Leopold I. in a pop-minded frame, where a clear central idea and emotional directness are the real strengths. Its appeal comes from commitment to a single emotional temperature rather than from trying to impress through sheer scale. There is a welcome sense of proportion in the way the music presents itself: the hook has room to land, while the surrounding moments support it instead of competing for attention. Small changes in intensity keep the song moving and stop its main idea from becoming static, giving the performance a natural sense of flow. For listeners returning to Leopold I., the song offers a compact example of how mood, pacing, and a recognizable point of view can meet in one place. The result is a focused piece of music that works in the moment but still has enough character to invite a return visit. The clarity of that approach is its own strength, because it lets the feeling come through without turning every moment into a dramatic demand. Even when it aims for immediacy, the track avoids feeling disposable because its atmosphere remains distinct after the final note. Its emotional center stays firmly in view throughout. |
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