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Lily: I'm still in love. This might be my favorite album from anyone this year. |
 Do you like reading reviews on anime? Manga? Games? Do you wanna support a fellow black nerd? Then click above.  Isabel-Pixie-Nova-Jennifer Armstrong-Dylan Shaw-Eden Pryce-Taara Jay-Jupiter Jones-Imani
Kato-Eilidh-Nothing But Trouble-Hayden-Serenity Scott-Anaísz-Kimi Kubo "My God! We truly are a talented bunch. The fact that we write entire albums all on our own while the biggest stars in the world have 45 co-writers on ONE track?? Where the hell are OUR record deals and GRAMMYS?" -BrownSugar |
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Harmony: I have to have this album pronto! |
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7. Crumbling Songwriter: Billie Beckett
Producer: Vin Peters
Length: 4:46Music OverviewA powerful drum beat from both Robert Edwards and the London Symphony Orchestra starts the song in a strong fashion. At first the song is just drums and Billie's haunting whispery vocals. Then Billie picks things up a little bit singing more fully as Matt plays solid bass, C strums subtly, and Vin plays a harmonic pattern. The darkness chorus sings wonderfully to transition as the second verse starts the same as the first but with the guitars. Guitars get loud and drums faster as Billie and James Urie harmonize in the prechorus. KC and Billie scream parts of the chorus and Billie just sings the rest as Vin tremolo picks and Matt and KC create an epic full sound. Orchestral string instruments join at the next verse and play a creepy, dark melody. They play in the next verse too creating an even more epic effect. Then all of the strings stop and it is just drums and vocal harmonizing between the chorus and Billie and KC. The strings slowly join in with very climactic fashion as Vin sweep picks before the last chorus.PercussionRobert starts the song by playing a midtempo double pedal pattern with evolving taps on the cymbals so that their sound grows from being quiet to crashing.
Meanwhile a very dynamic beat is played between bass drums and snare drums courtesy of the London Symphony Orchestra
This beat continues, laying the backbone for the song up until the chorus.
During the chorus Robert switches to a faster and slightly heavier beat which compliments the other instruments well
The bridge starts with no drums, but perfectly timed chimes as the the darkness chorus begins to sing their haunting melody
Slowly Robert brings back the drums as they build from very quiet to loud as they climax on a combined cymbal crash from Robert and the Lodon Symphony Orchestra before things go back into the last chorusVocalsBillie begins singing in a very desperate whispery tone
He picks things up a little bit into a fuller tone as he sings the line "Is this the end of my time?"
Billie and James Urie harmonize beautifully to create a very nice vibe for the song
THe Darkness Chorus sings a haunting melody as the song transitions to the second verse saving the chorus for later.
Billie sings the verse in his hauntingly troubled sounding but beautiful tone that he is known for.
The prechorus where Billie and James Urie both sing acts as a bridge from the quieter vocals of the verse to the full on vocals of the chorus.
KC James screams the same line that Billie sings at the very top of his lungs which makes the chorus really stand out and be dynamic.
For the rest of the chorus Billie shows off his range as he hits notes that people really wouldn't expect from a punk band.
The Darkness chorus joins in on the last line of the third verse which creates the effect of the lyrics seeming less personal to Billie and more relevant to everyone.
The chorus harmonizes in the same haunting melody that they sang earlier in the song but this time they do it and then do some cat and mouse vocals with KC who once again screams the same line that Billie sings at the top of his lungs.StringsTHere are no strings in the very beginning of the song
Matt joins in playing bass once Billie starts to sing the line "Is this the end of my time?"
Vin plays a slow pattern with harmonics and lots of high notes as the second verse starts
While Vin is playing very high notes KC plays complimenting root notes but a few octaves lower while Matt is playing those same root notes but on the bass creating a very dynamic harmony.
KC whose guitar isn't very lous begins to subtly play powerchords as the prechorus begins
KC's guitar kicks into overdrive for the chorus where he plays a very pumped up powerchord progression while stepping from chord to chord with different fills.
Vin tremolo picks the root notes on the high e string during the chorus which compliments all of the instruments well and creates an epic feeling to the chorus.
Matt mimics what Vin does only Matt does it on his lowest bass string which makes the chorus a very full blow out your cheap speakers type of chorus
Violas join the third verse in a very dark melody joined by the cello and stand up bass played with a bow (all courtesy of the London Symphony Orchestra) and they create an eerie melody
The guitars and bass repeat what they did in the second verse.
During the remaining choruses the guitars and bass remain the same as the first chorus and the orchestra instruments play the same root notes that Vin and Matt play, but the viola and cello throw in steps from root note to root note to create an epic feeling.
All of the strings stop in the bridge but they slowly come back in by the time the cat and mouse vocals start
KC plays power chords and Matt plays the root notes
The orchestra instruments revert back to the haunting melody from the verse
Vin plays a phenomenal sweep picking pattern as the song climaxes at the end of the bridge.
There are random harmonics played on guitar as the song ends
Lyrics
Key
Black - Billie Beckett
Blue - The Darkness Chorus
Dark Red - Billie Beckett and James Urie
Orange - Billie Beckett and KC James
[Verse 1]
Crumbling
I am crumbling
From my limbic system
To the marble pillars
Ashes to ashes, it all falls down
Is this the end of my time?
When the only light in this dark
Is my flag that they're burning
ooh oh oh, ooh oh oh
ooh oh oh, ooh oh oh
[Verse 2]
Crumbling
I am crumbling
From the tremors of absent fathers
Violence, hatred, from self to the crowds
Ashes to ashes it all falls down
[Prechorus 1]
Is this the end of my time?
When the only light in this dark
Is my flag that they're burning
[Chorus 1]
Of many I found no one
no one who could save my life
Falling so heavy
Before it's done no one will even know why
Even know why
[Verse 3]
Crumbling
I am freedom falling
I am no one!
Shaking and trembling
From the horrors that I've seen
Ashes to ashes it all falls down
[Prechorus 2]
Is this the end of my time?
When the only light in this dark
Is my flag that they're burning
[Chorus 2]
Of many I found no one
no one who could save my life
Falling so heavy
Before it's done no one will even know why
Even know why
[Bridge]
Ooh oh oh, Ooh oh oh
Ooh oh oh, ooh oh oh
I am freedom falling
I am no one!
I am freedom falling
I am no one!
I am freedom falling
I am no one!
I am freedom falling
I am no one!
[Chorus 3]
Of many I found no one
no one who could save my life
Falling so heavy
Before it's done no one will even know why
Even know why
Commentary
Billie: This is kind of the start of rock bottom for the album. The entire second act of the album is basically about the downward spiral. This is a very self aware take on it. There's a lot of allusions to help with the concept. It's a great song, but I'm sure you know that because it kind of hit #1
KC: I really love the vocal work in this part too. My screams in the chorus are some of my favorite work that I've done on this album.
Vin: This was an obvious choice for the first single because it really has everything that the whole album has. It has the incredible guitars. It has the vocal harmonies. It has the orchestral aspects. It has insane beats. This song is amazing!
Matt: Still an album highlight. #1 hit too. No big deal.
Robert: What they said.Edited by user 14 April 2012 03:35:34(UTC)
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OOC: It's taking awhile. Life is crazy, but I'm still doing this slowly. A word from Billie Beckett: Label or no label were starting to leak more tracks for this, but it wont be released until we have a label 8. Darkness II Songwriter: Billie Beckett
Producer: Vin Peters
Length: 3:22
Music
OverviewThe song starts with the horn section playing a very simple progression and acting as the bass for the song as the string section builds a melody ontop of the horns' foundation. Robert plays a simple hi-hat and bass drum beat, and as all of this is going on a strange voice begins the intro. It isn't singing, but simply speaking in a deep, slightly scary tone of voice that continues throughout the intro. Then everything gets much more complicated as Robert's drumming gets heavy, the horns play a sweet calm melody which contrasts with the strings which are much more dramatic, but somehow the two blend well. Billie begins singing his whispery vocals while all of this is going on, ending the first verse belting instead of whispering. Now Robert plays basically a drum solo while the other instruments continue and a saxophone plays chaotically. Then all this noise ceases and just the horns go back to acting as the bass as Billie subtly sings the last verse to the song. BrassThe song begins with a single deep note from the tuba which is soon joined by several trombones
As the intro begins the brass acts as a bass playing the root notes to the melody being played on violin
Things build at the end of the intro as more horns join in and a sweet, soothing melody is played
This melody continues as the verse begins, and climaxes at the end of the verse as trumpets join in making an epic end to the verse
Between the verses the horns continue their sweet melody but a saxaphone also is played intentionally erratically as a sort of chaos comes over the song
Then just as suddenly as it had begun this ceased and the brass section went back to acting as a bass for the second verse and remainder of the songStringsA single violin plays a classical melody as the intro starts with the brass section acting as the bass
Cellos and bis basses soon join as the intro continues
Suddenly the melody that had been calm starts to get a very dramatic, epic feel as the verse begins
This melody continues as a background for the erratic horns in the instrumental section between the two verses
All stringed instruments cease as the third verse beginsPercussionIn the beginning, Robert Edwards plays a simple bass drum and hi-hat beat
As the intro ends Robert plays a series of intense fills before evolving to a great, dynamic, heavy beat
Robert continues through the verse to basically play the shit out of the drums, but thanks to the production skills of Vin Peters, the drums don't overpower the song
A few more brilliant fills are played as the instrumental section begins and Robert gets worn out as he plays what is basically a drum solo throughout the instrumental section
Then the drums suddenly stop as the second verse begins
Vocals
The song begins with the intro which is spoken not sung in a very deep nightmare-like voice
The voice gets more intense slowly until the last line which is spoken very softly
Billie's voice is then reognized as he begins softly singing the first verse in his most subtle, whispery tone
This changes quickly as he reaches the last line which he belts out in full holding the note for quite awhile
The second verse stays consistent as Billie sings it in that same tone without belting at the end
The song ends with Billie's voice fading off in a whisper as he repeats the last two lines of the second verse several times
Lyrics
[Intro]
Have you ever realized or been told
That your life as it is does not make sense
It is this odd, horrid epiphany,
It is this that destroys all your life plans
And isolation is all that is left
Your life seems to continue without you
You watch it go by as if a stranger's
And this is the beginning of the end
[Verse 1]
It gets cold
In the empire
In this night
I've fallen asleep
I could dream
Or just leave
Leave this life
And just leap
[Verse 2]
it gets cold
The sun is down
In this fight
I'm in bondage
This is all
It's the end
THe sun didnt want me
And darkness loves company
Commentary
Robert: Here is our horny little song
Billie: Oh god here come the puns
Matt: It's ok we got most of it out of our system, we can probably talk seriously about the song
Vin: Alright. I guess I'll start. This is one of the most melodically complex because there are basically two opposite melodies being played at once, but I managed to write the melodies in a way that they work beautifully together. This is the kind of song that is just a wonderful listen musically
Billie: Yes. It is the transition to the final act of the album, and I think that although it has few lyrics the immense melodies make up for that
KC: I'll just jump in and say that I really love the spoken work part. There are other spoken word bits in this album, but none as scary as this one. Edited by user 11 June 2012 04:44:09(UTC)
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9. 2001 Songwriter: Billie Beckett
Producer: Vin Peters
Length: 6:21
Music
OverviewThis song starts with a drumroll from Robert and then an acoustic guitar begins playing as Billie starts to sing in a strong, less subtle than normal tone of voice. Vin joins in with echoy guitar leds and Matt plays a powerful bassline. The tempo is fairly slow in the beginning. The darkness chorus helps Billie sing the end of the first verse before Billie starts more aggressively talking than singing in the breakdown. Then the chorus comes in with loud guitars, erratic drumming and the full, aggressive singing of Billie Beckett. The next verse immediately picks up the tempo and is one of the most powerful moments of the song. Vin plays a nice, fast riff. The next chorus is just like the first. Then KC James comes in screaming as the heavy second breakdown starts. Vin plays a great lead guitar progression and then all this ceases as James Urie sings over a single acoustic guitar. This calm simplicity doesn't last long though before the last chorus of the song is played. At the end there is an outro in which everyone reverts back to what they were playing in the beginning and this is joined by haunting pianos before the song ends. VocalsThe song begins with Billie singing a slightly soothing melody in a firm, but not full power tone of voice
about 2/3 of the way through the first verse the darkness chorus comes in and sings very whispery in contrast to how Billie sings
Billie opens up a little bit more in the breakdown where he gets louder; he also incorporates little rhythmic tricks and abandons the melody so that he is closer to rapping than he is singing normally
The chorus comes and Billie sings full on in his most powerful, aggressive tone of voice singing as if daring the listener to disagree with him
The second verse is sung in the same way as the verse but now the tempo which had been a little bit slow has picked up and Billie gets more aggressive towards the end of the verse almost screaming before the second chorus which is more or less identical to the first
Just as the second chorus ends KC James comes in screaming in the heavy breakdown
Very suddenly the heavy part ends and James Urie sings very smoothly and confidently in the bridge
The final chorus is sung by Billie in the same powerful, aggressive manner as the other two
StringsTHe song starts with just a slightly somber chord progression on an acoustic guitar as Billie sings
After a couple of measures of this a dominant bassline of root notes with steps from note to note mixed in is played by Matt while the echoy, distant guitar tone that is a characteristic of the entire album is played by Vin
This continues until suddenly the acoustiv guitar fades for a more crunchy sounding electric in the breakdown
Matt continues his bassline through the breakdown, but Vin switches to a less subtle hammering riff on the upper part of the neck
THe chorus starts with extremely dominant guitar chords from KC as Vin joins him for some chords but shreds it up as he plays others switching off to create great variation in the underlying melody of the chorus
The slow tempo that had been picks up after the first chorus and to match KC continues with the chords on electric guitar and Vin plays an aggressive, heavy riff in full punk style
The next chorus is just as loud and powerful as the first
The second breakdown finds the tempo vary slightly as KC lets his chords ring out meanwhile Vin plays an epic sweep picking progression up the neck
Very suddenly all this ceases and it is back to the acoustic guitar during the bridge
There are a few seconds of silence after the bridge before the guitars come back into overdrive for the last chorus
The song doesn't end there; an outro is played as the acoustic guitar comes back and Vin once again plays subtle echoy leads all while a piano plays a dark, haunting melodyPercussionRobert Edwards starts the song with a steady drumroll on the snare drum before breaking into a slow beat that incorporated the drumroll with the bass and the ride cymbal
This beat gets a bit heavier with Robert incorporating the double pedal until he builds suspense with a powerful fill just before the chorus
In the beginning of the chorus Robert plays erratically smashing his toms and cymbals but staying in key, but then for the end of the chorus his beat gets more concise once again with the drumroll and ride cymbal
Now the tempo picks up: Robert plays essentially the same beat with the double pedaled bass drumroll with cymbals and snare drum mixed in
Robert does the same thing for the second chorus and then in the second breakdown he plays very dynamically linking his heavy drums with Vin's guitar playing
Robert stops drumming as James Urie begins to sing. After he's done Robert transitions by hitting all his toms and then going back into the chorus
In the outro Robert reverts back to that same drumroll beat from the beginning of the song
Lyrics Key
Black - Billie Beckett
Blue - The Darkness Chorus
Dark Red - James Urie
Orange - KC James (screamed)[verse 1]
The morning sun it is tainted
The sunrise tastes of blood
The new world is hated
This dust expands to flood
My heart is broken
And my father falls behind
Now we feel but it hasnt been spoken
That this world has lost its mind
Sometimes we can see a shadow
Like there used to be something more
More than this memorial gallow
Someone kind and a world without war
[Breakdown 1]
Now there's so much
All this emotional debris in the air
Can you feel the insomnia
Get that manic depression
Dont you see the substance abuse
It's falling on me like the razor blade
Like the self inflicted wound
[Chorus]
The security and any plan
All collapsed today as terror took over the land
I swear I feel it creeping up my skin
So lets die today
Lets leave here
Lets begin
[Verse 2]
So this is how it feels in the morning
Falling towers and justice gone to die
This is failure without warning
This is a century getting high
This is time never stopping
But leaving progress behind
This is the new millenium
Where we've all come to die, come to die, come to DIE
[Chorus]
The security and any plan
All collapsed today as terror took over the land
I swear I feel it creeping up my skin
So lets die today
Lets leave here
Lets begin
[Breakdown 2]
Lets begin
Lets begin
[Bridge]
Life is a ticking time bomb
We're sheep following death as our dog
He says were doomed to that fate
he says hes leaving the game
timebombs make timebombs
And peace goes to pieces
[Chorus]
The security and any plan
All collapsed today as terror took over the land
I swear I feel it creeping up my skin
So lets die today
Lets leave here
Lets begin
Commentary KC: A possible future single? This song is one of the most addicting on the album for me
Matt: I hear ya. This song is so complex and changes a lot with the tempo but it worked out perfectly and is one of my favorites
Vin: It's a great song to start the final act of the album. One of the toughest songs to get done on the entire album. The beauty of this song is as much when we are playing full throttle as when we are not. A very diverse song structurally
Billie: This song is a tough one definitely. From a writing standpoint it's tough too. This was one of the songs that I almost wanted to rewrite completely because it was so personal it was hard to share. I think it's fairly obvious what it's about for those who have been following the concept of the album and follow the news. This song is full of references to 9/11. From the viewpoint of the story of the album it is the beginning of the climax really. Stick around. Four more songs to go and the album will conclude. Edited by user 21 June 2012 06:08:13(UTC)
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10. Writing My Own Eulogy Songwriter: Billie Beckett, Vin Peters, Matt Collins
Producer: Vin Peters, Jason Smith
Length: 3:30
Music
Overview
The song opens acapella with Billie singing the first half of the chorus. Then there is a dramatic violin transition with guitars going crazy and then the verse begins. The verse is centered around Matt's bassline and the smooth vocals of Billie and Amy Meyer: guitars are nonexistent and the drumming and violins are very subtle. The chorus is also centered around the vocal melody which is sweet and Billie sings it with a hint of irony. Guitars come in for the chorus and Robert's drumming is much more punk but still not very heavy. Things change in the bridge as Vin plays harmonics and is joined by a piano and Billie begins singing very powerfully showing off his range and Robert's drumming starts subtly but by the end is full on and heavy. A dark synth joins in playing the dramatic melody heard from the violins in the beginning of the song. Then KC comes in screaming and Vin starts playing his guitar more heavily. The drtums too get heavy with lots of double pedal action and cymbal crashes. In the outro everyone reverts back to their patterns from the bridge except Robert who plays a very fast hi-hat beat.
Vocals
The song starts acapella with Billie singing the sweet melody of the chorus
Next comes Billie and Amy Meyer harmonizing together very cleanly and smoothly in the first part of the verse
Then Billie gets very dramatic and aggressive for a couple of lines before Amy Meyer takes over singing almost apologetically
Billie comes back still singing the sweet melody of the chorus very powerfully and a bit ironically
In the next verse Billie's tone starts subtly and more whispery
Amy Meyer sings more neutrally and sweetly and after she sings Billie goes back to the powerful dramatic tone
The second chorus is sung in the same manner as the first
Billie's voice echos in the bridge as he sings a memorable melody showing off his vocal range in a more sensitive tone
This subtlety is replaced soon by deep, dominant screams from KC James during the breakdown
In the outro Billie sings full on, again showing off his vocal range and giving the most passionate performance of the song
Strings
There are no stringed instruments in the intro which is acapella
Immediately after the intro there is a big dramatic violin progression joined by root notes on bass
The violins seem only to transition though into the loud guitar driven section of the song that lasts about ten seconds with the bass still roaring in the background
Now the noise of the instrumental intro fades and is replaced by a strong bassline from Matt Collins
As the bassline dominates the first verse the violins return subtly playing a soft melody in the background
Choppy, sweet sounding power chords are brought out for the chorus
in the chorus Vin Peters plays fills to compliment KC James's powerchords as Matt Collins continues his bassline but with slight variation to make the chorus more dynamic and more of a cheery major section to the song as opposed to the verse's more somber minor chord basing
The next verse centers again around the bassline, but this time is joined by a piano playing a strong melody to compliment the bass and subtle violins
The second chorus is the same as the first
For the bridge Vin plays harmonic root notes mirrored by the piano and Matt on bass while KC plays soft chords
As the breakdown begins Vin transitions from harmonics into more heavy leads flowing down the neck until he and KC mimick eachother playing a very heavy riff
This heaviness fades in the outro as all the instruments revert back to their patterns from the bridge
Synth
Towards the end of the second chorus a powerful, dark synth lead begins fading in and out in the same dramatic melody played by the violins in the intro
This melody continues in the bridge and is joined by a dominant bass synth to join Matt Collins's bass playing
The synth ceases for the breakdown but returns in the outro
Percussion
The drums begin after the acapella intro with a nice fill and then a steady beat that is very simple and not very heavy
For the verse Robert Edwards plays a more subtle beat than fans are used to. The beat is based around the hi-hat and snare drum with little fills but nothing is very heavy
During the chorus Robert plays basically a classic punk beat using the toms and bass drum a lot but slowed down to meet the mid-tempo song
The next verse and chorus are like the first
During the bridge Robert slowly builds the drums up from subtle taps on the ride cymbal to quiet beating on the floor tom and finally loud smashing in a fill that develops into a dynamic heavier beat by the last two measures of the bridge
During the breakdown Robert begins using the double pedal and smashing his cymbals
The beats take another turn for the outro as Robert plays a very fast 1/16 note drumroll on the hi-hat with the snare mixed in every 1/2 note and loud, dynamic fills
Lyrics
Key
Black - Billie Beckett
Red - Amy Meyer
Dark Red - Billie Beckett and Amy Meyer
Orange - KC James (Screamed)
[Intro/chorus]
I hoped that the world wouldn't be
Full of bitter screw ups like me
Shield your daughter and shield your son
Because now we blow our brains out with a gun
[Verse 1]
Deep in my mind I remember the old days
Though they feel odd and they feel fake
So before I go lets talk about concerts
Then I can have something good to say
Before you go, please dont mention me
Forget my name and forget my face
Just dress yourself in black
And then leave a blank page
[chorus]
I hoped that the world wouldn't be
Full of bitter screw ups like me
Shield your daughter and shield your son
Because now we blow our brains out with a gun
So I guess all that's significant
is this bloody loss of innocence
Guess you thought hope was so close
But not closer than an overdose
[Verse 2]
So I write til my pen bleeds no more
I could vent every fucking thing
But know, honey know it'll never matter
Know that no remorse shall ever come
so I rip it up and start over
Over over over and again
Until I decide fuck reflection
The headline's enough I am done
[chorus]
I hoped that the world wouldn't be
Full of bitter screw ups like me
Shield your daughter and shield your son
Because now we blow our brains out with a gun
So I guess all that's significant
is this bloody loss of innocence
Guess you thought hope was so close
But not closer than an overdose
[Bridge]
I will fall under this american dream
because it seems so dim to me
So superficial and green
And I will break my back in this waterboarding
Good day for you is goodbye for me
I will fall under this vicious scheme
its red or blue but its black
Why cant it be seen
And I wont write fuckin anything
Except good day for you is goodbye for me
[Breakdown]
This house is a tomb
This monument is a tomb
Open your fucking eyes
Your life is a tomb
[Outro]
I will die before I get old
I'm not afraid of age, I'm afraid of life
I will die with no hand to hold
Not for lack of love but for lack of loving
I will die with no one near
Not for lack of friends, but for lack of friendship
I will die before I get old
I'll leave no note no baggage to hold
If I make you cry look at your life
Smile then look back at mine
Commentary
Matt: I really enjoyed doing this song. It's one of the more poppy on the album. For that reason you wont ever see it as a single. Haha. But its a pretty good listen
Vin: This is more traditional Reported Failure. Ironically sung lyrics. Me Matt and Billie all worked on writing this song just like we did for the most well known RF songs from previous albums.
Robert: Yeah. You guys are all right but what makes this song is the twist in the end. It basically becomes a different song after the second chorus. It gets less ironic and more straight up passionate. As a result the music gets darker and I get to play faster.
Billie: Agreed. In the course of the album's story this song is pretty self explanatory. If you're confused just wait for the end and all should be clear. You're gonna love it. Edited by user 02 July 2012 05:30:18(UTC)
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11. Lithium Songwriter: Billie Beckett
Producer: Vin Peters
Length: 3:35
Music
OverviewThe song starts with a bang as Robert plays an intense, memorable drum beat overlayed by powerchords, superfast bass and tremolo root notes from Vin. Then the verse comes in as Robert plays a hi-hat beat KC ceases his powerchords, and Billie sings in a very raspy tone. Then there is a drumroll and the noise comes back as Billie sings more fully, Vin taps on lead guitar, KC comes back and Matt plays a smooth bassline in the chorus. In the second verse the drums as well as Billie's vocals pick up a bit. Finally as the verse comes in Vin melodically plays root notes, Robert dynamically smashes his drums as Billie sings as if telling the best part of a novel. Amy Meyer sings more softly. Soon an epic guitar solo comes from Vin before there is a break as Billie sings the chorus acapella. Finally everyone joins in to play the chorus one last time. PercussionThe song opens with just a few thuds on the bass drum
The there is an explosion of noise from the droms as Robert goes in to arguably the most intense beat on the entire album dynamically smashing all his drums and getting a hell of a workout
Then the first verse begins and Robert cools down playing a slower but just as haphazard beat mostly with the bass drum, toms, and hi-hat
Robert transitions to the chorus with a very fast snare drum drumroll and cymbal fill and then plays a traditional rock beat with fills wherever he can
The next verse sees a mix of the insanity of the intro and the slower haphazard drumming of the firse verse: Robert still isn't breaking a sweat due to speed but his overall drumming gets more consistent and heavy
The second chorus is the same as the first
In the beginning of the bridge Robert smashes his crash cymbal a tom and the bass drum simultaneously every couple of full notes
Then he goes into a classic, fast punk beat as Vin begins his guitar solo
As the next chorus begins Robert doesn't play drums. The whole chorus is sung one time with no percussion but Robert joins in when it is played the last time with the same fill-happy rock beat StringsLoud powerchords from KC and distorted lead root notes with tremolo from Vin join in as Robert begins ponding away at the drums
Bass joins in too copying the notes on lead guitar
Throughout the verse Vin plays harmonics and very high notes creating a somewhat ambient effect
Meanwhile Matt is playing extremely fast root notes on bass contrasting to Robert's less quick beat
As the chorus begins Matt reverts to a smooth bassline as KC plays powerchords
The most impressive work in the chorus comes from vin who proceeds to just tap the root notes with variations of other notes in the scale to hammer on and pull off
The next verse starts the same, but KC joins about 1/3 of the way through playing basically ska chords on his guitar
The second chorus is just like the first
During the first part of the bridge the instruments return to how they were in the intro before the first verse
After this KC goes back to his ska chords, Matt plays extremely fast root notes and Vin starts shredding it up starting with a tapping solo and then transitioning to a slower, more melodic solo that ends as he works his way down the neck and then lets a chord simply ring
Then all noise ceases for the first half of the last chorus but then picks up again for the next half and end of the song VocalsBillie sings the first verse in a raspy, bitter tone of voice expressing the mood of the song very well
Billie holds the last note of the verse transitioning it into a full loud scream before the first chorus
The chorus is sung in a more full tone that starts with no aggression and then gets more aggressive as if Billie is trying to pick a fight with the listener
Billie begins the second verse in the same raspy fashion, but soon he opens up more fully making one of the more memorable parts of the song
The second chorus is sung in the same manner as the first
Emotionally Billie belts out the first part of the verse showing off his range and singing as if explaining the climax of an epic story
Amy Meyer joins in more softly in the background
This part of the bridge is played twice
After the guitar solo Billie sings the chorus acapella once and then the instruments come back in and he sings it once more
Lyrics
Key
Black - Billie Beckett
Red - Amy Meyer[Verse 1]
Run to black gold or black tar
A desert or a jungle
Maybe I was wrong and were not human
I find it harder to define myself when were all so full of doubt
So much harder to keep someone else when nobody can help
[Chorus 1]
But your love is my lithium
Im so entranced, you are my drug
Yeah your love is my lithium
So goodnight I don’t want nothing but you on the day I die
[Verse 2]
Run to the black holes
Of American dreams and hipocracy
Run to the drumrolls
Of growing up a broken man
I finder harder to stay sane when nothing seems sane anymore
I know there shall be no doubt when I fall, I fall like a the book, or the bell
[Chorus 2]
Yeah your love is my lithium
Im so entranced, you are my drug
Yeah your love is my lithium
So goodnight I don’t want nothing but you on the day I die
[Bridge]
Kill me. You’ll kill me I fear.
I want so much to break you down
I need so much, to steal your crown
[Chorus 3]
Yeah your love is my lithium
Im so entranced, you are my drug
Yeah your love is my lithium
So goodnight I don’t want nothing but you on the day I die
Yeah your love is my lithium
Im so entranced, you are my drug
Yeah your love is my lithium
So goodnight I don’t want nothing but you on the day I die
Commentary Matt: This is another fun one
Vin: Yes very fun.
Billie: We get to play this one live
KC: Yeah. Some people might have realized that a lot of this album has a shitload of instruments so it's hard to play live. But this song is just the five of us plus Amy. We can play it live. We're going to.
Billie: This song is about death. The entire third act is really the climax of the story, so the story wont really be concluded until the next song. There isn't much to explain about this one. It's all explained in the big finale. Edited by user 03 July 2012 10:04:16(UTC)
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OOC: So this is really the end of the album except the next song which is an epilogue. I know it took me a long time and a lot of the excitement about this has died but I would love either now or if you want to wait until after the very last song is up for some overall feedback whether IC or OOC. This is the most intense RP I've ever done and I'd love to know what everyone thinks about it now that it's basically complete. 12. Darkness III Songwriter: Billie Beckett
Producer: Vin Peters, Jason Smith
Length: 5:53Music OverviewThe song starts with trumpets, fog horns and flutes all harmonizing in a variation of an original somber sounding melody and the melody of taps. Soon the spoken intro begins and a newsman speaks as in the background the sounds of a city in chaos can be heard. A xylophone joins in as well as strange ambient noise to add to the flute trumpet and fog horn. After the intro Vin plays melodically just letting the music flow on his guitar. No shredding just seemingly endless melody. Then he switches to chords as Robert comes in playing a slow subtle beat and the verse begins. The darkness chorus sings in a desperate tone that fades to a whisper. Then after they're done the melodies really start to blend. Things get faster and faster. The melodies get less simply sad and more dramatic and epic. One measure would be played with whole notes, the next 1/2, the next 1/4, and the next 1/8. The darkness chorus sang starting with a whisper and finally everything comes together in the climax as all the melodies join in a single note and the song ends.Brass/WindThe song begins with somewhat distant sounding notes from a foghorn
The fog horn is soon joined by trumpets playing a somewhat somber melody, but the melody is slowly tweaked so that it develops into taps
Soon some flutes join in playing the same somber melody that harmonizes perfectly with the foghorns root notes and the trumpet's taps
These instruments continue throughout the intro and verse setting the backbone for everything else to build off of
During the outro the instruments take a more dramatic twist as their melody remains sad but is much more epic and adventurous
The instruments all get faster and faster and faster until they all climax on one note at the end of the song VocalsAbout 40 seconds into the song an aged, manly voice can be heard sounding like they are coming through an AM radio. They say the spoken word intro in somber, but composed tones as a newscaster would attempt to
Then the darkness chorus comes in singing a desperate, painful melody
At the end of the verse the chorus fades into a chilling whisper
Then they come back after another instrumental section first singing in a whisper
They sing hauntingly but slowly build until they end the song on a single passionate, tear-jerking note StringsThere are no strings in the song until after the spoken intro ends
Immediately a guitar is heard as Vin plays very melodically with his guitar in a clean tone and loaded with echo and delay
Vin just plays in the minor scale, speeding up, slowing down, just letting music flow in beautiful melodies
Violins and a harp soon join in playing cool underlying melodies as the verse begins
During the verse Vin switches and plays open chords
After the verse the underlying violins get much more epic sounding and come out of the shadows of the song as they build suspense
Vin switches to playing more ambient tone and harmonics with the occasional melodic fill, but he lets the other instruments be the focus of the song
A bass joins in as all the instruments begin to speed up
As the song begins to climax Vin copies the violin's dramatic melody finally climaxing with all the other instruments on a single notePercussionAs the spoken intro ends a xylohpone begins playing so that it both keeps the beat and joins the fog horn in playing root notes
During the verse a very slow bass drum and open hi-hat beat comes in from Robert
Robert continues this beat throughout the song but as things get more epic his drumming gets more complex with cymbal crashes, tom transitions, and the occasional double pedal work on the bass drum
Robert continues to speed up until he settles at a very fast drumroll on the bass drum followed by cymbal crashes as the song climaxesSynth/OtherThroughout the spoken intro the sounds of thunder, glass breaking, and buildings collapsing can be heard in the background
Odd ambient tone is heard throughout the section before the verse but after the intro
The ambient noise returns with the occasional tremolo sound during the outro to add to the climax of melodiesLyrics Key
Black - Spoken [Vocalist not revealed]
Blue - The Darkness chorus[Spoken intro]
good evening ladies and gentlemen. It is my deepest regret to inform you that at 2:18 this afternoon William Freedom was pronounced dead from a lithium overdose. No note was left behind but it has been confirmed as a suicide. Please bare with us as more details come in about this tragic news. I repeat William Freedom is dead. He left behind a mother, a son, and of course an entire world that was invested in him or needed his guidance or presence.
[Verse]
We're locked away
We're locked away
Locked in this purgatory forever
Tell me its fantasy
Tell me its fantasy
That corruption wrote every love letter
[Outro]
I wish we were ghosts[Repeated]
Commentary Matt: He's dead
Billie: Yes. The album's protagonist has died. The comparison between the idea of freedom as an ideal and just a simple man William has been completed. This really marks the end of the album. The next song is more of an epilogue. That isn't to say it isn't a piece of the story or a great song but everything from this point onward is the falling action. Obviously this whole album is very personal to me. This song kind of represents what could have been in my actual life but luckily isn't
Robert: This song is really great because of just the melodies. Vin did an incredible job writing and arranging all of them.
Vin: Thank you. And big hand to the london symphony orchestra for making my idea for this song and really the whole album a reality
KC: Yeah. absolutely
Billie: Also thank yous to all of the guest vocalists. You guys were great. This is your album too. But it isn't over yet. One more really epic song. A big finish. Dont stop at track 12 if there are clearly 13 tracks Edited by user 04 July 2012 07:06:11(UTC)
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OOC: I think this was a really detailed and unique way of writing the album out. It looks like a lot of hard work went into it and it's really good, very enjoyable to read also :) |
Do you like reading reviews on anime? Manga? Games? Do you wanna support a fellow black nerd? Then click above. Isabel-Pixie-Nova-Jennifer Armstrong-Dylan Shaw-Eden Pryce-Taara Jay-Jupiter Jones-Imani
Kato-Eilidh-Nothing But Trouble-Hayden-Serenity Scott-Anaísz-Kimi Kubo "My God! We truly are a talented bunch. The fact that we write entire albums all on our own while the biggest stars in the world have 45 co-writers on ONE track?? Where the hell are OUR record deals and GRAMMYS?" -BrownSugar |
1 user thanked RoseJapanFan for this useful post.
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OOC: Thanks. I'm glad you enjoyed it. And yes it is a very different layout. I tried several this is the way of organizing the songs that seemed to work best for this particular album. |
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13. New America Songwriter: Billie Beckett
Producer: Vin Peters
Length: 4:21Music OverviewThe song starts loud with all instruments going full throttle with fast bass, powerchords, catchy beats, and a treble-filled pop-punk riff. Then things quiet down as the verse is oriented around Billie's reflective sounding vocals with drums and bass making the main backbone and only very subtle guitar is present. Things pick up with guitars as the prechorus starts and Vin begins tremolo picking. Then the chorus comes as everyone goes back to what they were doing in the intro and Billie sings in full volume showing off his range. Then in the next verse Vin's guitar gets a little bit heavier but still let's Billie's vocal performance dominate. The next prechorus also changes slightly with Vin sweep picking instead of tremolo picking. Then after the second chorus everything cools down with just Matt playing bass and Billie singing sensitively. Soon though things pick up for one more chorus and then an instrumental outro to the song.VocalsBillie begins the song singing very softly in a peaceful rather than aggressive tone
He continues this way singing the smooth melody in an almost reflective and accepting tone through the first verse
As the prechorus comes around he gets a little bit louder
Finally Billie manages to maintain this reflective tone but belts out the melodic chorus showing off his vocal range
The next verse finds Billie in more of a persuasive, declarative tone which continues through the prechorus before he belts out another chorus
Then Billie gets more quiet and sensitive as he sings the bridge much more mellowly than the rest of the song
Soon though, as the rest of the instruments pick up Billie does too singing the last chorus fullyStringsThe song opens full throttle with KC playing sweet underlying powerchords, Matt playing a fast bassline, and Vin playing a treble-filled pop-punk riff
This noise settles down soon as Matt switches to playing 1sts and 5ths and stepping from note to note occasionally while Vin plays an underlying melodic riff in the verse
KC had remained silent in the verse but busted out the chords for the pre-chorus meanwhile Vin began tremolo picking quickly to build up to the chorus
Now in the chorus KC Vin and Matt all reverted back to what they had been doing in the intro with the powerchords, fast bass, and pop-punk riff to compliment Billie's singing
The next verse is very similar to the first except Vin plays a little bit heavier of a riff with intermittent chords mixed in
In the prechorus it is Vin again who changes from the first prechorus: instead of tremolo picking he sweep picks first low on the neck but steadily higher up the scale
The second chorus is the same as the first
Then in the bridge things settle down and just Matt plays his bass which is full of reverb. He plays very steady root notes while Billie sings
Then the final chorus is played just like the first two. It ends and then everyone just plays out on a simple chord progression as Vin plays another pop-punk riffPercussionThe song starts with a very fast catchy punk beat from Robert during the intro
Then during the verse Robert's drumming flows very well as he hits he slowly drumrolls his toms and hits his hi-hat in a dynamic, memorable beat
As the prechorus comes Robert gets faster finally transitioning to the chorus with a loud fill centering around a drumroll on the snare drum
Then in the chorus Robert plays a very versatile fast punk beat like he played in the intro
The drumming remains very uniform for the next parts of the song as everything up to the bridge is the same as it was for the first section of its kind
Then Robert transitions to the bridge with a loud fill and a cymbal crash before stopping his drumming altogether
Then he picks up slowly starting with just taps on the hi-hat but soon drumming full throttle before going to his beat for the chorus
During the outro Robert plays a variation of his punk beat from the chorus but with so many fills mixed in that the beat is recognizably altered Lyrics
[Verse 1]
From the mountains in your heart
They could be tumors or the best part
You could've flown like an eagle
Or drowned like the earth
You're such a nationalist
You've been one since before birth
I am gone now. Goodbye
[Pre-chorus]
There is no hope without sacrifice
There was no you and me without my demise
But the dead rejoice because peace is alive
[Chorus]
There'll be a New America
Once the dead get up and move on
Now Justice and Freedom are dead
Build the New America around Peace
Be stronger and try harder
And dont let him grow up to be like his father
[Verse 2]
Look at these streets flowing like bloodstreams
There's cancer or can you see the headlight gleams
Realize I could've had heaven
But at least I'm out of hell
I know all I left was dysfunction
But I sincerely wish you well
So please go on without me
[Pre-chorus 2]
There is no dawn without the darkness
There is no life without death
But the dead rejoice because peace is alive
[Chorus]
There'll be a New America
Once the dead get up and move on
Now Justice and Freedom are dead
Build the New America around Peace
Be stronger and try harder
And dont let him grow up to be like his father
[Bridge]
Though we thought we thought we could make it
I guess it wasn't our time
Maybe in our children's generation
Maybe they'll make everything fine
Yeah we thought we thought we could make it
But it seems to be the wrong time
Maybe in our children's generation
They'll grow to rule the night
[Chorus]
There'll be a New America
Once the dead get up and move on
Now Justice and Freedom are dead
Build the New America around Peace
Be stronger and try harder
And dont let him grow up to be like his father
Commentary Robert: It's over!
Matt: Whoo! months of work complete.
Billie: Yup. This song marks the end of the album.
Vin: Yes. And one thing we wanted to do with this song was really at the end of such a dark moody album we wanted to actually do a couple things. We never want to leave our listeners with a depressing song. We can leave them with a sad song but we usually try to leave them with at least a reflective or accepting song or a hopeful song or a more defiant song. We also wanted to remind our fans, and I mean our longtime fans from before Nomad records, that we still play basically pop-punk and make it rock.
Billie: Yeah. I agree completely. Lyrically ith all metaphors and allusions aside, this song is about being a father. In the context of the album it is about a father's dying wish being that a new world is built around his son and that his son could lead this new world better than he did. I think it's one of the most powerful songs on the album and really the only way to end it.
KC: It's over. Lets go get a beer
Matt: Yeah!
Vin: We'll see you all again soon.Edited by user 08 July 2012 02:55:37(UTC)
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