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The new single has finally arrived! So here it is, Dawn of a New Day, a song that is to appear on the next Mind album, The Clock, a song that didn't quite fit the concept of To Hold All and a... special cover in the middle to piece it together. Without further a due... 1. Dawn of a New Day... (Luna’s Theme) (5:45) (Progressive Rock/ New Prog)A gentle vocal from Jason, alongside heavy piano chords and a complicated, clean, yet reasonably electric guitar melody kicks the song into gear, setting quite an ethereal and spacey theme. It is at an adequately fast tempo. The vocals of Jason are double tracked here, with one layer singing in a quiet, high pitched voice and the other in a mellow, smooth lower pitched voice. This goes on for the first verse, slowly building up tension with the crescendo of atmospherics and soundscapes that have been placed in the background, as well as the sound of the Theremin returning back to Mind’s music. After the second verse and a small bridge, the melody shifts slightly to one that is still epic, but you get the feel that it is building up to something more than with the initial melody. In addition, the drums are introduced here, in a neat, clean flurry, before settling into a nice, simple rhythm. In the following verse, you can feel the atmosphere turn quite anthemic, as violins and another guitar melody is placed towards the latter end of the mix, equally as complicated as the main, if not, more so. After this verse, on the “How do we all sleep?” the song explodes into a massive arena rock/ heavy metal hybrid, with Jasons vocals getting more emotional and reasonably more aggressive. The vocals are double tracked again, but with the same pitches, just to enhance the emotional effect that it has on the song. This little bridge finishes, and then goes into a faster tempo version of the original melody, played heavily by both guitars, sounding somewhat metallic. The drums also play blastbeats at certain points during this interlude. Once it finishes, it returns back to relative quiet, with the rhythm slowing back down again. However, this time, Jason and Aaron battle with bluesy guitar solos that are reminiscent of Pink Floyd at times, except they are drenched in echo and reverb, as is the traditional production style of Jason Smith. The solo finishes and goes back into an epic, arena-esque, metallic anthem, except this time with the same tempo as it was, instead of going faster. Jason sings this part in a relatively high pitched, loud and dramatic voice reminiscent of Cedric Bixler-Zavala. On the “I’m sick and tired” line, a massive crescendo in noise and dramatic tension is unleashed, with the rhythm guitar playing an arena-rock, complicated melody and the lead guitar playing a simply epic one, making this one of the most immersive, open and spacious Mind songs ever. The penultimate part of the song consists of Jason singing in the same voice, except with an even more massive, and echoey tone. This continues until the last part, the “I’ve been waiting” one, when the guitars start to fade out leaving Jason singing amongst a choir and a lone violin. The piano then plays the original melody to fade the song out. How did you find me...
Here in my hole?
Abundance of acceptance intake...
I’m about to let go.
Waking to new lives I’m...
Alone in this room.
Heavy in heart, but maybe alive...
You will not see me.
Dawn of a new day... (where do we go from here?)
It’s a new day... (where can I go from here?)
Take one more step...
It may be your last.
The time slips by like sand...
Through the clutch of an hourglass.
I hope you’re watching me now...
One... more... time,
Are you waiting for me,
On the... outside?
So now you break down...
Break away from me.
How do you all sleep when the light is on?
How can we all rest under a dying sun?
Stand up... widen your eyes,
Fixation on the afterlife.
Are we waiting?
For a saviour?
Are we waiting?
I’m sick and tired...
DAWN OF A NEW DAY!
IT’S A NEW DAAAAAAAAAAAY!
DAWN OF A NEW DAY!
IT’S A NEW DAAAAAAAAAAAY!
DAWN OF A NEW DAY!
IT’S A NEW DAAAAAAAAAAAY!
DAWN OF A NEW DAY!
IT’S A NEW DAAAAAAAAAAAY!
I’ve been waiting... my whole life.
I’ve been waiting...
I’ve been wasting... my whole life.2. Comprachicos (Pendulum cover) (3:14) (Electronic Rock/ Industrial Metal)Heavy industrial noises and extremely distorted guitars kick the song off, as well as vocoded vocals from Jason which sound sinisterly robotic. This is much like the original song, except with more metal influence than electronica. After this, another industrial guitar kicks in alongside a lot of noise and soundscaping, and Jason is now singing in a more natural, slightly more melodic voice, but one that still retains its creepiness, due to the vocal layer below consisting of Jason growling the lyrics. After a gradual crescendo of noise, mixed with sharp screams and aquatic noises, the song then breaks down into a fast tempo. It then turns into a mixture of electronic industrial noises and samples, similar to that in the original, except yet again heavier, and two guitars playing a manic riff that is the melody from the original. It manages to sound quite effective when it is played on a guitar actually. The song continues with metallic ferocity and aggression, with the chorus sounding especially angry. It sounds quite similar to the original, except Jason is scream-singing it amongst extremely heavy guitars and precise, machine gun drumming. It goes into some more manic instrumental segments, before returning once again to a verse and then to the chorus, with more vocal and electronic layers hiding in the nooks and crannies of the song. The structure of the song is relatively simple, although Mind manage to make the most out of it by implanting different layers, of which it will take many listens to dissect fully. On first listen, it just appears to be a kick ass electro-metal song. The song ends in a simple, abrupt fashion, with the sound cutting out after the chorus. Manipulation doesn't shape me,
And I am just feeling the part took out.
And even though this curse restrains me,
I got so many things to yell about.
Well I could fight this,
But I may die.
And all I want is be the apple in your eye.
Well I could stay here,
Strap on my face.
Listen to the words that put me in my place.
I have seen a transition
And you wondered what I'm gonna do about it.
You thought that my eyes were behind my back
Though that I didn't want to but as you see,
Throw it away!
'Cos I got the patience,
To see that you drown.
To watch you go down.
Throw it away!
'Cos I got the patience,
To see that you drown.
To watch you go down.
I am the reality you wish you had
I war against your constant re-emulation
All that I strive for is to believe in you
Words that hold I true
Throw it away!
'Cos I got the patience,
To see that you drown.
To watch you go down.
Throw it away!
'Cos I got the patience,
To see that you drown.
To watch you go down.3. The Clock (4:27) (Progressive Metal/ Heavy Metal)Weird, enigmatic riffs erupt from the guitar of Aaron in polyrhythms to introduce the song. It makes it sound like a cross breed between Mars Volta and Meshuggah. This goes on for about 10 seconds until an unusual, yet strangely catchy, drum rhythm gets introduced to set the scene for the song. Alongside this, a complicated bass line and something which sounds like a scratch technique being used by Jason. Once a melody and rhythm have been firmly implanted, Jason comes in the vocals. He sounds quite smooth, and actually uses proper singing technique here, alongside the occasional scream on a word every now and then. In the choruses, the riff changes to a pretty basic, yet effective alternative rock riff with the drums blazing away in the background. In fact, as far as drums go, this is probably one of best Mind songs that Stevie has ever done. He actually sounds reminiscent of mathcore. After the chorus, it returns to the verse, and not much has changed, spare from a loud synth line along the top and slight vocalisations apparent in the background. In addition, the drums are becoming more and more complicated, and polyrhythmic. A slight choral segment can be heard in the far mix, although you would have to strain your ears to hear it. It is, in turn, comprised of two sections, a baritone and a falsetto. This is subsequently followed by another chorus, but with a slight twist. Instead of just having Jason sing, the rest of the band sing the first line, with the whole band then singing the chorus, making it sound surprisingly eerie, since Harry has a low, ghostly voice and Aaron sounds quite raspy and raw. This chorus finishes up and it goes into the second part of the song, where the melody takes a melancholy tone, and is now being played in an eerie, minor tone. Jason sings this transitional part in a low, quiet, relatively soft voice. A build up from drums then leads it into the “So run like hell” final segment, where the guitars turn into massive, immersive, epic sounding pieces of metal to accompany the female choir singing the lyrics. You can hear Jason singing it as a leader of this choir, although the female choir is definitely prominent. The tension is still building with orchestral elements, until it all dies down in a big band ending. The orchestral elements take over and eventually finish up in a massive style, by playing an extended note. The song then cuts out. I’m divided into decisions,
I’m calling through the permanent,
I carry the torch that burns the flame,
To stomach the stab,
I see it when I need to,
But my eyes never care to open up,
And I carry the rise and fall of men,
From coast to coast.
And in there...
It’s all right.
I’ll start killing when God starts asking to...
And in there...
I’m alright,
And I’ll start killing when my God starts asking to...
I’m the warpath in your viewpoint,
Deep in evaluation,
I carry the key that locks the heart,
If you want me to.
I’m as happy as I need to be,
Yet I never care to open up,
I’ll carry the world on my shoulders,
As long as it carries me.
And in there...
It’s all right.
I’ll start killing when God starts asking to...
And in there...
I’m alright,
And I’ll start killing when my God starts asking to...
And she said you’re the one for me,
But I said...
Baby I’m not who you thought I’d be.
And she said you’re the one for me,
But I said...
Baby I’m not who you thought I’d be.
Baby I’m not who I ought to be!
So run like hell...
When your down in the deep,
Throws wolves among sheep,
Run like hell,
When your down.
So run like hell...
When your down in the deep,
Throws wolves among sheep,
Run like hell,
When your down.
Down.SO, WORTH THE WAIT, YEAH? COMMENTS BELOW. Edited by user 12 November 2011 07:19:28(UTC)
| Reason: Not specified |
