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Groups: Moderators, Registered Joined: 09/11/2009(UTC) Posts: 8,329  Location: Floating about on an iceberg somewhere Thanks: 436 times
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We've got 3 tracks today, before the final batch of two tomorrow. We think this may be our best album yet. In fact, we KNOW it's our best album yet. 7. Astral Projection (2:19) (Ambient/ Electronic)A simple, sunny layer of synth and ambience fades into the track as Jason sings the sole words over and over again in a robotic tone. There isn’t much to this song, it is quite simple compared to the other stuff, but it still has many layers and can be considered a musical onion as such. Gentle acoustic strumming referencing The Wanderer from The Juggernaut can be heard clearly at some points, as well as a distorted flute being played backwards. The synths get louder and louder until the ambience eventually boils down quite subtly with a single cymbal crash. Symphonic noises get louder and louder as it fades into the next track. Defections, defections...
Words they whispered unto me.8. The Paladin’s Revenge (5:01) (Mathcore/ Extreme Metal)The symphonic noises from the last track keep building up and getting faster until it all boils down into nothing when Jason quietly sings the first word beneath a throbbing bassline and quiet, tense guitar riff. The first verse is quite quiet, but extremely tense, with the occasional passing of white noise and static and with Jasons vocals sounding as if they’re going to crack at any moment. After the first verse, all you can hear is the pulsating riff and mechanical industrial noises, mixed with static. This happens for about 10 seconds, before everything explodes into a massive, complex riff and Jason starts doing what it perhaps his longest scream to date. Whilst he lets the riff settle in, he does it for what must be at least 25 seconds. The rhythm guitar of Aaron is playing a djenty riff, still with many complex polyrhythms. It then crumbles into a loud, heavy riff and Jason sings the next verse almost as if he was just shouting it, since it mixes his traditional screaming and low singing. It is quite slow at the moment, but still with chaotic layers of sound audible beneath it. Everything then speeds up after that verse into a manically complex guitar piece, with no particular melody, just random notes being played at an incredibly high speed. This happens for about 5 seconds, before going into a speed metal riff. Chanting can then be heard for the next couple of segments, before the song takes another unexpected turn and slows right down into one of the heaviest riffs Mind has ever created, complete with crazy drumming parts. Jason just screams the last couple of parts of the song over the top of this riff with absolute ferocity in his voice. This riff then plays the rest of the song out, as well as a dark piano and violin piece. Everything just then cuts out into silence. Sober...
I’m sober again.
I haven’t got any wings...
Sonar again.
I will make you watch me fly,
Into the wall.
But then, we find...
That we’re all...
Trapped in a realm of incomprehension.
I watch over you,
You watch over me,
We are one in our,
Little... anniversary,
This blood pact seals,
All you want to be,
Yet I still remain...
As, err... merry!
I think I’m sober...
Devoid!
Of freedom!
Lead me into what I am!
Destroy this mental fortress,
Lead me into what I am!
Fight!
Fight!
Fight!
Fight!
Are you still here?
What do you want from me?
Let’s talk about our... loyalty!
This time, sublime, I will make things right!
Are you still here?
What do you want from me?
Let’s move into our... factory.
This time, sublime, I will make things right!9. The Halberdier and the Abbey (10:45) (Progressive Metal/ Symphonic Metal)A tight, spacey bassline starts off the song on quite a quiet note, along with simple violins playing in the background. After a few seconds, it is joined by a massive guitar riff, drums and orchestral segments, rendering it quite chaotic. In the background, you can hear little blips and electronic sequences joining the wall of sound to make it even more nightmarish. It’s quite a basic riff, but it’s very heavy and effective. The guitars drop out for the first two verses, leaving only the bass, drums, orchestra and Jasons cool vocals. They’re quite relaxed, which is weird for a song that is this heavy. After these two verses, the guitars come back in, with the lead one playing a complicated solo and the rhythm one supporting it by playing the main riff. The riffs then change slightly into darker, heavier, even more complex ones and the orchestral elements in the song increase. A female choir can be heard singing operatically in the background. These all fade into an acoustic arpeggio sequence for a few seconds, before returning to an electric arpeggio sequence and Jason belting out the high notes for the next parts, possibly the most impressive genuine singing that Jason has ever done. After the last “It’s all inviting”, the riff changes to reference a heavier version of To Hold All. These references eventually finish and a massive guitar duel occurs. This goes on for about 2 minutes, with the orchestral background changing to fit the current guitarist. For Jason, they play a low, dark melody and for Aaron, they play a complex, fast, chaotic one. These solos fade out into ambient synths, with the acoustic arpeggios returning for good this time. This acts as a basis for the rest of the song. More drum beats eventually get louder and louder, turning into blast beats, which contrasts quite beautifully with the rest of the song. This is one of the most moving moments that the band has ever done, since the symphony in the background is also playing a beautiful, arpeggio melody and Jason is vocalising the lyrics softly in the background in many different vocal tracks. From “the world may not need me” bit, Jasons vocals get more operatic and powerful, as well as the lead guitar starting to play a harder hitting riff. The arpeggios eventually fade out and the violins are on one extended note, leaving just the riff and the drumming behind. The violins eventually start to play chaotic, fast music to go alongside the marching rhythmic riff. Jason then proceeds to scream the last verse in a mad manner. With every syllable he screams, he has the symphonic elements backing him up as well as both the female and male choirs repeating his pattern by singing “I won’t be dilated!” over and over again. Once the lyrics have finished, everything gets faster and louder until it explodes in one massive wall of sound that lasts for about 10 seconds. A couple more seconds of ambience then lead it into the final “proper” track. Shapes and colours come to be,
Shapes and colours reach out for me,
Grabbing my neck ever so tightly,
Why does it float on by?
Shapes and colours come to be,
Shapes and colours reach out for me,
Grabbing my neck ever so tightly,
Why does it float on by?
Au contraire, its embrace is warming,
Its voice is soothing,
The war in its becoming,
The war in evolution,
My acknowledgement is rendered null and void,
Thus, we acknowledge it endlessly,
It’s all infinite,
It’s all inviting,
It’s all infinite,
It’s all inviting.
My wings aren’t strong enough to fly yet,
So why should yours be?
An infinite void of nothingness beckons!
It’s all infinite,
It’s all inviting,
It’s all infinite,
It’s all inviting.
Go now, go now,
Go now, burn beneath the sun.
Go now, go now,
Go now, burn until you’re done.
Go now, go now,
Go now, burn beneath the sun.
Go now, go now,
Go now, burn until you’re done.
And I’m feeling ever so...
Lonely.
Ever so...
Useless.
Ever so...
Ever so confused.
The world may not need me.
But do I need the world?
The story is not finished,
No, the story’s just unfurled,
Pages torn from history,
Blown into faces of inquisitive strangers,
They always told you to watch out for,
Paranormal dangers.
I MUST REARRANGE THIS!
I WON’T BE DILATED!
I MUST BURN EVIDENCE!
I WON’T BE KNOCKED DOWN!
THIS IS MY TIME!
THIS IS MY TIME!
It’s all infinite,
It’s all inviting,
It’s all infinite,
It’s all inviting.
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