Million Worlds Away (4:48) (Baroque Pop/ Symphonic Pop)

A cool, thin layer of ambience starts the song off, like a gentle breeze for about 5 seconds. Then, a slow, low key piano melody appears, one which both has hints of beauty and can make you feel slightly on edge and uncomfortable. It is deliberately recorded in low fidelity, to give it an unusual, old-timey, almost vaudeville feel. The melody worms its way firmly into your head, before Jason starts singing the first verse, which is the point that you know, automatically, this album is going to be a radical departure from everything else that he has done. Whereas before, he may have operatically belted out the vocals, he chooses to subtly coo them out in a warm, sincere voice, leaving all the tiny imperfections and bumps in. It is only on the last two lines of the song that he decides to use power, by belting them out in an emotional, heartfelt tenor. After the verse, the piano melody plays again, above a quieter solitary piano note that is being played on the lower end of the piano on a different layer. Now you can slightly make out distant string instruments, such as violins and cellos playing. The second verse is sung in much a similar style to the first in terms of structure. The only difference is that his vocals are slightly more on edge and louder now, as the song increases slightly in volume. After this verse, gentle, quick drums appear alongside a simple acoustic guitar melody similar to that on the piano and a comfortable, groovy bassline. As Jason gets ready to sing the third verse, you can hear some different voices of both genders in the background singing a catchy “ooooh-ooooh-oh” melody that will stick with the listener immediately. He then starts singing the third verse, which is structurally like the other two, only it has a slightly more wrought and emotionally worn delivery, with a slight increase in volume, at points developing into a tortured yelp, before it goes into the chorus, which is marked by the piano melody shifting into a different one, which is played on the upper end and is faster and more immediate. The other instruments become louder and Jason’s delivery of the vocals is getting gradually more and more emotional. He sings both stanzas of the chorus like this, although in the second one, it gradually winds down so he gets quieter towards the end. After the chorus, it goes back into the fast paced drumming, quick string instruments and catchy piano melodies, with Jason singing gently on top of it, although the background singers, in the distance, are singing it relatively loudly. They go through the two verses in this way with the background ambience being raised slightly louder, so the song sounds a little like dream pop or shoegaze. The choruses are then sung, even more heartfelt than before, and it goes into the bridge, which is like a continuation of the chorus with a different, quieter vocal pattern and slightly more rhythm-orientated piano lines, before it turns into the chorus again. After one more repeat, the song devolves into the piano melody and Jason softly singing the final line over and over again, before a final guitar note ends the song.


The summer’s arrived.
The winter’s nowhere in sight.
And I feel fine.
And if the world is set alight,
I think I’ll be alright.
With you by my side.

Fog like a shroud of grey,
Please just go away.
We can do this some other day.
But I,
Turned around and said,
“I think I’ll be alright,
With you by my side!”

Then I’ll bleed another dimension,
Beauty through ascension,
A million worlds away!
But if the sky comes falling down,
The sky will still fall down...
So let’s make the most of it!

We could cry together.
But in the end it won’t be worthwhile.
We should stay together,
But the pain would remain futile,
Hand in hand, we try to fly,
But we fly apart.

I want to go home,
I am fully grown,
Let my parents know that...
This baby bird’s let his wings be shown,
Cross the desert, cross the sea,
Cross it and come back to me!

So... this house is not a home.
But I am fully grown.
I love you, I hate you, I know.
And so... my mind plays Judas,
I want to work right through this,
But whatever happened to love?

Feelings are closing in!
Whoever’s gonna win?
In the end, we create our sins.
We create the lives that we want to live.
Existential crisis is only existential anyway.

We could cry together.
But in the end it won’t be worthwhile.
We should stay together,
But the pain would remain futile,
Hand in hand, we try to fly,
But we fly apart.

I want to go home,
I am fully grown,
Let my parents know that...
This baby bird’s let his wings be shown,
Cross the desert, cross the sea,
Cross it and come back to me!

Baby, I’m waiting.
I’m weary, you’re belated.
I hope to god... you know...
That I don’t ever have to go.

We could cry together.
But in the end it won’t be worthwhile.
We should stay together,
But the pain would remain futile,
Hand in hand, we try to fly,
But we fly apart.

I want to go home,
I am fully grown,
Let my parents know that...
This baby bird’s let his wings be shown,
Cross the desert, cross the sea,
Cross it and come back to me!

Cross it and come back to me...

Cross it and come back... to me...



Jason: “This song was the first I had written for the album... I mean, I had the melody written, like, a year ago but I wanted to save it up for something truly special, which I honestly believe this album is. The lyrics I created directly after I came back from my disappearance and are about a variety of things really... all the obvious ones that you would associate with me, so that’s my marriage, Eric, my mental stability, my parents, everything... but rather than just write separately about those things and then cobble them together, the words just sorta naturally flowed, a stream-of-consciousness thing. I mean, as you would expect, it was very difficult to sing about these things, which is why my vocals sound so emotional. I captured it first time... if I had to redo the vocals, then I don’t I think that the soul of the song would be... I dunno, not as good, not as heartfelt. It’s a radical departure from anything I’ve done before. There are no metal elements in this song; in fact, there’s barely any in the whole album. The rock elements are few and far between, although you can sort of make them out at points. But I think it’s worked really well. It’s turned out exactly how I want it to and I hope you guys like it as well.”

SOUNDS LIKE:

Edited by user 17 July 2012 05:59:20(UTC)  | Reason: Not specified

Jason: Haha, thanks! I hope so. I'm glad you like it so much though, that genuinely means a lot to me that people like it man, man.

OOC: Thanks dude :D Yep, I've decided I better actually do something if I'm back.

Jason: Thanks Lily :D Yeah, I've just returned, armed with loads of new songs. I'm glad you rate the song so highly, I truly am. I've said this before, but it really means a lot.

Jason: That would be awesome, thank you. So happy with the response this has gotten so far.

OOC: Thank yooooou :D

Brittany Knox: It's really good to see you back in action. I really enjoyed the time I had recording with such an icon like you. I'm sure you'll do excellent and hopefully one day we can work together again! :)

Johnny: It's been a long time coming. Very good stuff as usual. We need to find time to work on something together again. Sometimes schedule differences and life gets in the way. But good to see you back.

Jason: Certainly, yeah. I sorta disappeared for a while, but... it's good to be back. We do need to work on some stuff together soon, I agree. It would be awesome.



Jason: Haha! No, no, it's fine. If it's any consolation, I'll die eventually.

Hey, it's Jason here. I've been away for quite a while, so I have a treat for you! Not two, not three, but ONE brand new lyrics to a new song. I won't post the actual song quite yet, because management would kill me, but we've come to a compromise of sorts. I hope you enjoy it, this one in particular is weighted a lot in the lyrics. This is for a song called Gone.



Oh my friend, you lay your head on the ground.
Close your eyes and sleep forevermore.
After all the turbulence, this fate waits for all of us,
This I know. I’ve been there 2 times before.

And for love, I’d go straight right into hell.
And my love was a chiming and lonesome bell.
Crying out across the mountain streams and hills so far away.
I will wait. I will wait.

Oh my friend, I’m gonna stay alive for you.
But my friend, my mind has been abused.
Beaten, broken, bent, but there is still time to be fixed,
Just you see. Wait for me, unconsciously.

Then you’ll find that the gates have opened up.
I’ll shout to heavens and my voice will cause a flood.
And you’ll know where I am...
You will sense where I am.
In the end, we all bleed the same blood.

Jason: Thanks Serenity! Happy you're liking it.

Jason: Thanks Vin, man! I'm happy that you're liking it. I hope that the album doesn't disappoint.

OOC: Thanks dude, it's good that you like it, lyrics are my weakness lol.