"To take the world at face value, is to die long before your heart stops beating." - Florian Lefevre

Overview

Artist: Sonnets and Novellas
Album: Illusions
Label: Chaos Records
Length: 55:06
Producer: Christophe Domini, Serge Dusautoir
Release Date: August 3rd 2013
Genre: Post hardcore, experimental rock, progressive metal
Format: Mp3 download, CD, vinyl
Music: Thierry Betsen, Marcus Blanc, Sylvain Lloris
Lyrics: Florian Lefevre
Recorded: Marseille, Paris, Boston, Detroit

Illusions is the debut full-length album from French alternative four-piece band Sonnets and Novellas, due to be released via Chaos Records on August 3rd 2013. It will be the first time the band has released any music - previously reserving their work for live performances and streaming only - and is also their first time working with a major label. As far as first albums from artists go, Illusions is a bold and brave move from Sonnets and Novellas, a band that refuses to play it safe, and launches into their career with an experimental, swaying, chopping and changing progressive album that shocks and surprises at any given opportunity. For the most part, the album can be seen as post-hardcore with an experimental and modern twist, but songs will often dip their toes into the waters of other alternative genres such as rock, prog metal and even the realms of pop - if only fleetingly. Fueled by art, prose and poetry, the album is a work that the band has worked long and hard on putting together, bringing a concept and a dream to the fore and giving a soundtrack to an emotional state of mind that exists in everyone who wants to feel alive. Their work is as close to the bone as possible, asking listeners to think, to dream and to interpret it in their own way. "It is an unguided tour through the majesty of my own fucked up mind," Florian Lefevre says. "You will see my own thoughts, you will experience things that I have and be given hints to how I have felt about these, but you will need to interpret them in your own way."

Without any previous material to back them up, and the refusal to bow to the pressure of an introductory single to ease them into their new-found career as a major label collective, Sonnets and Novellas are displaying a resoluteness, a stubborn attitude, and most importantly an infallible confidence in their own skills and the music that they collectively produce. The band scarcely give interviews, choosing for the most part to communicate their feelings through the blogs and poetry of frontman Florian Lefrevre while the rest remain almost eerily silent - an element that gives them an air of mysterious wonder. Music designed to break walls, to conquer divides and to challenge listeners just as much as it entertains them, Illusions will be a record that is sure to make an impact on the music industry in one way or another. With the charismatic Florian Lefevre, a popular live performer, poet and author within the French alternative scene leading their way on a march towards pastures new, the journey will never be anything more than exciting, and with songs that bring an all-new edgy atmosphere to an already delightful market place, Sonnets and Novellas are setting out their stall and showing that they are more than capable of existing and competing in an industry that has been calling out for interesting new alternative bands.

The Concept

"To take the world at face value, is to die long before your heart stops beating." Florian Lefevre's rather prophetic sentence when describing the need for illusion is something that rather typifies his way of looking at life. Challenging the norm has always been something that has been an important element in the life of Florian Lefevre - a man who seeks answers where others accept there are none. The idea of the record is to explore the many different ways that exist to experience and enjoy the world around us, and the way that we as humans can interpret far deeper meanings than can be seen by the naked eye. The record, initially dedicated to the way in which drugs can be a key to seeing the world in a far more open way, has grown over the writing process, with Lefevre explaining that illusions became all about the vastly differing and varying ways in which people see the world in ways others don't.

"Illusions of power, delusional people hell bent on seeing love that does not exist, paranoia, schizophrenia. It is a commentary on the human condition more than anything. We are all locked into our own minds from birth to death, and it is one thing we have in common. But we all see the world in so many different ways, be that through the haze of various substances or through a false truth projected by mental health. I've always been fascinated by the way different people see different things, and this helped me to explore a vast array of varying viewpoints. There are songs I wrote while heavily under the influence, songs that I wrote about that process and experience while sober, and then others that explore themes I have only gained knowledge of from various TV shows and my reading." More controversial topics are covered when Lefevre's lyrics touch on dangerous psychotic conditions like pyromania - the devotion and obsession with fire - and religious viewpoints. "I love the way that a dedication to something, whether it be fire, or indeed a higher being and creator, can totally change the way someone sees themselves and the world. In some ways, I would like to know what it is like to be blindly sure there is a God. It must be far more comforting....yet infinitely more restrictive."

The Creation

Sonnets and Novellas take on a strange tactic when it comes to the recording and writing process for their music, largely brought about by the fact that most of the band cannot stand to be in the same room as each other. Florian Lefevre, often complaining of being bullied, harassed and bothered by other band members about his choice of controversial topics and the sometimes obscure nature of his imagery. This means that he now opts to write in solitary confinement, writing his lyrics to fit around the artistic musicianship of his band. But is he just playing along to the notion of the troubled artist? "My band and I have never got on as a unit," Lefevre explains. "They try to have too much input into the side of the music that is my vision. They are the musicians and I am the lyricist, I am the mouthpiece. I feel it becomes far less genuine if I am to stand there and sing lyrics someone else has imagined." Lefevre says this is the reasoning behind a bizarre decision that Sonnets and Novellas made very early in their career. The band came together as a group of individuals focused on their music and being the very best they can be, and it is something they still aspire to. Most of the music will be written by Thierry Betsen, Marcus Blanc and Sylvain Lloris as a unit in an atmosphere Lefrevre describes as being as much about the competition as the art. "It is something that fuels better music, better qualities and far more emotionally genuine music," he says.

Curiously, Lefevre will come into the fray very late in the day, a surprise given that he is the only member of the band who ever really flirts with publicity. Band members recorded the majority of the music in two studios in Marseille and Paris, where they can make the most of the acoustics that best suited the drums and the guitars, before it was then sent on to Florian to make the magic happen. "It is pointless me being around during the instrumental parts. I get bored, I try to argue and I cause fights because of this. When they were done, they sent me the files for my opinion, and I thought the songs were fantastic. The band are always in a battle with each other, and these guys trying to outdo each other has created something fantastically wonderful, imaginative and over the top. It's everything we aspired to, I believe." From there, Lefevre got to work on his side of proceedings, bending and twisting his poetic prophecies and artistic nuances around the songs to provide lyrics that would befit the band they want to be. "I wrote and recorded all of my parts after everything else was done. I know, this is a weird way to do things, but this band has never been so at peace with what we do. I was inspired by a number of things while touring America, and I poured these into my visions." Once the vocals were done, it was sent back to France, where Christophe Domini and Serge Dusautoir set to work on the production, eventually leaving Sonnets and Novellas with Illusions, an album which Florian Lefevre describes as "exactly what we envisioned from the first time we stood in the same room."



Track Listing

1. Sweet Relief
2. Pyromania
3. Begone! Your Tragedy, Cast Aside
4. Lips, Hips and Lowering Zips
5. Lies, Tears and Fears for Years
6. Walking Blindly, Falling Without Wings
7. Escape Prosthesis, No Fate Awaits
8. Illusions
9. Pretty Faces Hide Behind Cosmetic Masks
10. Wake, Run, Hide, Repeat
11. Where is the Only Answer
12. My God! I Never Called Your Name
13. Walking Under Ladders [Friday]
14. Take A Bow and Smile Politely

"To live in a haze is to exist without the drama of survival." - Florian Lefevre

1. Sweet Relief
2. Pyromania
3. Begone! Your Tragedy, Cast Aside
4. Lips, Hips and Lowering Zips
5. Lies, Tears and Fears for Years
6. Walking Blindly, Falling Without Wings
7. Escape Prosthesis, No Fate Awaits
8. Illusions
9. Pretty Faces Hide Behind Cosmetic Masks
10. Wake, Run, Hide, Repeat
11. Where is the Only Answer
12. My God! I Never Called Your Name
13. Walking Under Ladders [Friday]
14. Take A Bow and Smile Politely

---

The Track

Sweet Relief is the opening track from Sonnets & Novellas debut album Illusions, and serves as a low-key introduction to their musical stylings as a band. While most bands describing themselves as a rock or post-hardcore act may be tempted to introduce themselves with a bang, Florian Lefevre's four-piece start with a downbeat ode to substance abuse, mellow and gruff for the most part with its dirty, murky guitar track and Lefevre's throaty yet intriguing vocal. The track and album begins with a distorted and quiet single guitar strumming at a mid-paced chord while the enigmatic lead singer laments the effects of trying to escape from reality. The opening verse is as stripped back as it is possible to be, with only the guitar and the vocal on display, a brave yet fantastic decision from the band, which only serves to make the rest of the song stand out as individual and catchy, showcasing what they can do and introducing the world to Sonnets & Novellas for the very first time.

It is at the start of the second verse that the song really comes to life, though. After a brief pause, in which the final guitar chord continues to ring out, the drums come in with a thumping double beat, which heralds the pace change that brings the band to life. While the first guitar plays the same chords from the intro faster and a little louder, the lead guitar joins in with an intricate and delicate picking riff, creating an instantly infectious rock sound that is likely to become one of the signatures of the band and get heads around the world nodding along in time. When Lefevre joins back in, his voice is far more animated than it was in the first verse if just as gruff - he sings in a bit more of a high pitch, the slight tone change just a hint of the stunning range that the singer possesses. As well as the key change, his lyrics are sung a lot more in time with the now slightly chugging riff, giving it more of a gentle bouncy element and making the song instantly memorable, despite the fact that the tone of his voice appears to be somewhat sad, full of regret and pain.

The start of the chorus for the first time is preceded by a short moment of quiet when one guitar plays a slow chord. The silence is broken though by Lefevre calling out "Oh oh!" in a much higher pitch, again showing the flair and ability that he has within his vocal range. This brings about the chorus in which there is a much different sound to the rest of the song. The guitars are much lighter in tone with a riff and some intricate guitar providing a unique and rather groovy sound, and Florian's voice being at its most showy at any point in the track. He really experiments with his tone throughout the chorus, going from low pitched and quiet and rising steadily through octaves to a much higher pitch and a far louder style, which gives the song a very proggy feel and a fresh sound that most people will never have heard the likes of before.

When the song returns to the verse the next time, the chunkier and funkier sound of the verse somehow hangs on, and the lyrics and vocals retain the edgier sound from the chorus as the track bounces along nicely. It then works its way through the series of verse, chorus, verse, before reaching the final real change, when the song gets to the bridge. This section is the most downplayed, with the guitars and drums going very quiet once more to accompany Florian's change in voice. His vocals become very matter of fact as he discusses darker themes like suicide and failure very very briefly, and one can almost imagine the singer sitting at the side of the stage to have a frank discussion with the crowd at this point in the song. Following on from this section, the track ends with one more chorus. It returns to the more upbeat and groovy style, sending the song out with the sort of bang and flash that they resisted in the opening, and rounding off a really solid opener to the band's debut album that really shows off what they have to offer as a collective.

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The Illusion

Florian: "Originally, I wanted to start the album with a song that was going to be all about drug abuse and the illusions that can come from that, because drug and substance abuse was originally what made up the largest part of the album. When I changed what I wanted to write about though, and adapted the album to let it grow into something more rounded and mature, I thought I would be better to kick it off with like one of the most common illusions that exists in the world. This is one that we all experience, which may not be true of like drug abuse or mental illness. I think whether you're a massive pop icon, a struggling-ass rock star or just some Joe Bloggs working the nine to five in your office before going home to your fat wife an spoiled kids, we all go through a degree of escapism in some shape or form. This was a sort of notion I wanted to explore, because for me, escapism was always simple in my own life - drinking and hallucinogens, so I wanted to use this track to explore other weird and wonderful ways that people will look to take their mind off the daily slog of their life - I was amazed by how many are there when you truly think about it. Whether people are sliding a bottle of beer down their throat each night, fucking their secretary in her tight little ass, sucking off some dude in a bathroom stall, watching films and playing games to fuel their imagination or even inventing rockstars and pop stars and imagining their whole life...we all have ways to forget who we really are and how we really live.

"I think it's a healthy concept. Some people I spoke to about it when I was researching for my lyrics dismissed the notion and suggested that anyone who needs to escape their daily life in ways like this is not truly happy with life. I disagree. I think if you live your whole life in your own head, in your own life 24/7, then you're the sort of person who's likely to be found in a garage about six feet away from various fragments of their own brain. That's where the chorus really illustrates what I was trying to talk about more than any other part of the track. The idea of a stage and a play in your own head is like the whole notion of being somewhere else away from your own life and loving it. Then when it says "bring the curtain down and I'll lose my sweet relief" or whatever I said...that's like talking about how life would suck if you didn't have that chance to get relief. All in all, I think I am quite happy with this song really. It allowed me to explore so many different methods that people use to escape life for even just five or ten minutes a day. It's a good introduction, all in, to the idea of illusions, and given the little that people know about me so far, it will probably come as a surprise to most of them that I am writing about something like this, where it's more than just drugs and drink. I hope people understand what all of my illusions mean throughout the album, really, and this is a good starting point for that. Maybe this can be people's illusion and escape from reality for a little while? Get back from work and sit back with your earphones and listen to my musings about illusions. It might be good for you...it might drive you insane, but it can be fun to try and see.

"I think what most people will find confusing about this song is the tone in my voice....well if they have listened to this explanation anyway. I am singing about escaping from your own existence, and how cool it can be to get away for even that little short period of time. Yet when you hear the song, my voice sounds somewhat sad and reflective in the verses. I think that was something I did subconsciously at first, and then I tried to change it. But in the end I made the decision that it was much better just to keep it in there, because at the end of the day, most of the moments when we want to escape something about ourselves, it's not because we are happy with how we are, or how are lives are, you know? Hopefully people get that. I'm sure some will, and even if a lot of people don't then as long as the message hits home somewhere, I will be happy about that."

---

The Illusion

Fighting every instinct within me
Read the story
In my red eyes
My mind is like a window to the sea
Look at my dark
Weak history

Torn away, but he loves to dream of life
Talking to bottles
Telling them stories
Longing to get out his nine-to-five
Liquid escape route
Wandering fantasies

Oh-oh! (uh-oh!)

The play etched in my mind is rolling on
Bring down the curtain and I'll lose my sweet relief
Echoes from the words resonate across my stage
Darkness we'll embrace 'til I escape on pretty leaf
If you're looking for a life then take my hand!

I know how it looks, when days seem brighter
Everything is greener
Grass looks smokin'
Takes a bold man to prove that he's a fighter
You're to blame
No one else to take the fall

The play etched in my mind is rolling on
Bring down the curtain and I'll lose my sweet relief
Echoes from the words resonate across my stage
Darkness we'll embrace 'til I escape on pretty leaf
If you're looking for a life then take my hand!

Fail to put your finger on a fantasy
It's not cloudy
It's just another dream
You'll never live if this is how it has to be
No autonomy
No chance to be your own man

Came to rest on a dark night
No more pills to discover
Lost my sense of purpose and hope
Last witness telling me why to fight
My decisive ghost uncovered
Life spreadeagled, viewed beneath a microscope

Time to bow, to answer your call
He takes your praise through gritted teeth
To climb is just to set yourself to fall
Don't reach too high to never find relief
These liquids numb the pains
Some brown could warm the veins
Don't applaud, just throw me that bouquet
Toss poppies to my den and I'll be ok

The play etched in my mind is rolling on
Bring down the curtain and I'll lose my sweet relief
Echoes from the words resonate across my stage
Darkness we'll embrace 'til I escape on pretty leaf
If you're looking for a life then take my hand!

"Even on the worst acid trip, the biggest danger is only yourself.." - Florian Lefevre

1. Sweet Relief
2. Pyromania
3. Begone! Your Tragedy, Cast Aside
4. Lips, Hips and Lowering Zips
5. Lies, Tears and Fears for Years
6. Walking Blindly, Falling Without Wings
7. Escape Prosthesis, No Fate Awaits
8. Illusions
9. Pretty Faces Hide Behind Cosmetic Masks
10. Wake, Run, Hide, Repeat
11. Where is the Only Answer
12. My God! I Never Called Your Name
13. Walking Under Ladders [Friday]
14. Take A Bow and Smile Politely

---

The Track

Begone! Your Tragedy, Cast Aside is the third song on the debut album Illusions by Sonnets and Novellas. The track is without a doubt the most prog-led and experimental of all on the record, and serves as something that lead singer Florian Lefevre describes as his "Pink Floyd moment", where he makes use of imagery from Alice in Wonderland, as well as a number of other sources to discuss the highs and lows of acid abuse and the comparison to sobriety and living in the real world. The track is deliberately fractured and modern in its structure, and provides numerous changes in tempo, all of which combine to help give the notion of being on drugs or under the influence.

The track begins very slowly, with only the bass and guitar playing a question and answer style riff, the bass quiet and gentle in the background, while the guitar dominates in the forefront of the sound, high and piercing. Despite being a very slow start to the track, it is also quite memorable and haunting, casting an eerie sort of aura across the start of the song. This goes on for the best part of half a minute, before the serenity and peace is shattered once again by the gruff calling voice of Florian Lefevre. In this track, the vocals are recorded in such a way that his voice sounds somehow more distant and less focus, less lucid, a technique used to give the illusion of detachment from the real world and the normal way of life. Throughout the opening verse, Lefevre's gruff and commanding voice is slow and morbid over the slow intro, matched by a new guitar riff that has also entered the fray following his interrupting of the status quo. The last line of the verse is sung in a very jumpy style, with Florian singing each word with a very definite plosive at the end as if to make it sound choppy and definitive. When the verse comes to an end, it marks the first very abrupt and notable change in tempo.

This change in pace instantly makes the song much faster as it takes on a sort of bluesy air. The guitars team up and harmonise on a flowing finger picked riff while the drums come on for the first time with a gentle backing to the music. As well as the change in tempo though, this part of the song also brings about a change in mood and tone, with the track being a lot happier and upbeat during the second verse. The strangest thing about this is that Lefevre's voice remains almost the same as he works his way through the next verse, showing the diversity in his skill and the way he can write something with two meanings and multiple applications all at once. Throughout the remainder of the track, this more complex and challenging musical section, happier and more vibrant, becomes the standard verse style, taking over from that more downbeat and sludgy sound that was used in the very first verse. It lends the rest of the track a sort of dreamy sound that becomes its signature, almost synonymous with the whole idea of dropping a tab of acid, and allowing people a look in the window of what it must be like to be Florian Lefevre.

For the choruses, which first comes in directly after the second chorus, the song drops the more fiddly and bluesy tone that it had just developed, turning more towards a standard rock riff. It also marks the very first time in the album that listeners have been able to really experience how much of a good singer Florian is, when he drops the more gruff musings adopted thus far, replacing them with a quite impressive and tuneful clean singing voice. The chorus is catchy and gentle, offering something of an analysis of the whole idea of being high as it talks about the ups and downs of using, and the music really helps it to stand out from the rest of the track to show that it is its own distinctive thought and not a part of the whole being high element of the track. It is mid-paced, rocky and entices a gentle nodding along to its pleasant tones.

The rest of the song alternates between the verses and chorus in the same way, with the skilled and technical verses providing a strange yet weirdly apt partner to the more downplayed and safe choruses and allowing the song an almost chaotic flow that even three songs into their debut album has become something of a signature dish of Sonnets and Novellas. The only times at the end of the track that it deviates from this sort of method is when the two bridges come in. The first is amid a crash of cymbals and drums, representing chaos while Lefevre and his band repeatedly yell "yeah!" at each other over and over. This is almost like a break in the track, and it works well as a punctuation mark, generally keeping the pace of the track in check and allowing the listener a chance to take everything in. The other change comes with the bridge before the final two choruses. This brings in a much quieter section in which the vocal lines are much longer, poetic and analytical, before the song then ends with a return to the pleasant choruses, bringing the whole concept and illusion of the track to a very rounded finale.

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The Illusion

Florian: "Where to start with this song...? Well, let me be honest and a complete wanker all at the same time. This is probably the truest and most accurate representation of the whole "illusion" concept on the whole album, given that it was written and recorded while in the throes of the very illusion that I was writing and singing about. This is most likely the song that people were expecting to hear when we first revealed we were doing an album all about illusions and stuff. Drug abuse, being high, fucked up and miles away from reality - it's all part of the package I guess. And yeah, I wrote the track while I was absolutely out of my face on acid, if I'm being honest. The band had sent me the tracks...music-wise...obviously, and I would listen through and decide what track fit each concept. As soon as I heard this song and its really chaotic structure and stuff, I knew this was my acid song. Its dreamy, trippy, odd and really just fucked up in places. I remember dropping the acid the night before I wrote my lyrics, and then getting fully inspired by it as a result. And then the next morning when I woke up I was just like "Shit....the track's totally done." Obviously that doesn't make for the most simple or easy to follow music really, and I'm sure a lot of people will challenge the imagery and the supposed glorifying of drug use throughout the song, but in all honesty, this is just a straight up and to the point commentary on being high, by a guy who was high at the time that he wrote the lyrics. Can you really get much more genuine than that?

"Composition wise, this song is definitely the weirdest point of the album, and I think it's important that it comes both early on and between probably the two most "normal" songs we wrote, if you will. A lot of the track, both musically and lyrically is a bit out there, but that's how we've always been, and that's what this illusion in particular called for. I like the idea of Alice in Wonderland being intertwined in the imagery at certain parts of the song, because it makes it feel even more fucked up....a song about drug abuse using a Disney cartoon to get its point across is somewhat ironic. I think if we all were to take the time to really sit down and watch Alice as adults though, we'd realise that that chick had probably dropped more tabs than the Beatles put together. So yeah, I used that movie as like my main starting point and just branched out from there, talking about highs and lows, the bullshit of lucidity and again I touched on the reverie notion. Like I say, it may not be something that everyone can empathise with, but in terms of the points I wanted to get across, I'm not sure I could have done it much better. Acid is a wondrous and adventurous thing, and even if people can't experience it themselves, maybe this is a track that will give them even just the smallest taste of what it does - acid allows you to see things that just don't exist to the naked eye. It can be the most colourful, amazing and sensational way to see the world, and it gives you a whole new perspective on what is really there, as well as what your mind is really capable of doing, which can actually be a bit of a scary notion at times. It's all about bright colours, sparks, fire and bangs. It's a wonderful experience.

"This song is a bit of a step away from the first two in terms of the whole album concept, I think, in that it's really quite frank. The last two were all about imagery to prove a point of power or escapism. This one is just right to the point. It's like "bang, I took some drugs and this is what I saw." In some ways, you might consider this one to be my Pink Floyd or Led Zep moment...and by the way, that's the only time you'll ever hear me compare myself to a bunch of legends like those guys. I was worried at first that the whole image of the song would come across as quite forced since I was deliberately setting out to get high for the purpose of writing it, but I'm pleased to say it didn't at all. Acid manages to...most of the time...give you that sort of clean high that other drugs can't. I'm not sitting here advocating drug use, by the way, it can fuck you up pretty bad, but it is probably one of the most innocent highs around. Even when you're on a bad trip the only danger is yourself, and it's something that you can always manage to ride through. Anyway, yeah, the song. Overall, I'm pleased with it. It's fucked up, it's weird, it's just full of crap that won't make a lot of sense to people who have never tried the things I've tried. But I think it's beautiful and I hope people appreciate it."

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Begone! Your Tragedy, Cast Aside

100....hours ago! I tried to shut my thoughts out!
I said goodbye to my underwire! I closed my eyes to stop it!
This bed feels so co-o-ooold, the colours run and mind's still spinning!
Picked at my skin, the acid rain keeps me from sleeping!

Walked into my own head like a door to Wonderland
There were flowers up to my thighs, went from bright to fading fast
This white rabbit is my guide and prophet
He freaks me out and brings me to my knees!

Time stood still, no nightmares came to pass
I'm sleepwalking
Mirrors whisper
Skin's crawling
Shadows stalking
No answers come from through the looking glass

If I could film my own mind, you would give me, mercy mercy mercy!
I need a shield to filter bad trips from the highs you always bring
Today I looked into a mirror and saw the worst of my own reflection
The reality, no clouded dreams, no substance, an accurate recollection

Yeah
(YEAH!)
Yeah
(Yeeeeeah!)

Time stood still, no nightmares came to pass
I'm sleepwalking
Mirrors whisper
Skin's crawling
Shadows stalking
No answers come from through the looking glass

Where did my power go, I swear I could fly before I lay here
Face smashed, dreams in tatters, I took the chance not fueled by beer
Sprout wings sweet angel carry me to heaven before it's late
Don't let this ground open and resign me to my lonely fate!

Time stood still, no nightmares came to pass
I'm sleepwalking
Mirrors whisper
Skin's crawling
Shadows stalking
No answers come from through the looking glass

I'm drawn to you!

Nights like this can't be my only escape from fate
I'm begging you come close my gate
Stop me chasing visions across the brightened meadows
Close my mind and help me wait
Give me the chance to cry to weep
Take away my power, let me sleep!

Time stood still, no nightmares came to pass
I'm sleepwalking
Mirrors whisper
Skin's crawling
Shadows stalking
No answers come from through the looking glass

Time stood still, no nightmares came to pass
I'm sleepwalking
Mirrors whisper
Skin's crawling
Shadows stalking
No answers come from through the looking glass