Overview: The debut song, the intro to our whole album. After brainstorming for several days about what the intro should be...we decided to make a melodic metal type of song. So while we were in the studio, the lyrics came first and we did a few initial takes we liked before finally we worked out the story and concept for the album. See, the screaming vocals(italics) are the back of a man's mind seeping out. The clean vocals are that of the man's therapist trying to assist him. The broken man whose mind finally caves at the end is Marquis de Sade's Grandson Graham and he has cracked past the breaking point.

Sound: The song begins with silence before a small ping begins, followed by applause, then a door being slammed shut then finally an alarm clock ringing. There's a two minute loop of all these things, the volume with the sounds being as quiet as a whisper before they rumble to stereo breaking levels. Suddenly a low frantic bassline begins with Winston's guitar tracks, thunderous and rather high as the lyrics begin. With the screams comes an equally as frantic drumline that utilizes the snare drum for a heavy backbeat pattern.



Lyrics:
Notes: Italics = Screams
I just want to go
I'm burning up right now
Burning up right now
So extinguish the fires!
Hold down the fort
With your everlasting desires
Giving up is the last resort
Don't hold me
I'm alone
For eternity

Lose yourself in the music
In the song of those who've left us
Lose yourself in the sonnet of the lost
Rip out the pages
Of the book never written
Call back the past
For things never said
Move on girl
This city eats people alive
Take me for one last whirl
While death arrives
Hold me tight
For the wind falls around me
Look past my exterior
For the look in my eyes

HOLD BACK THE DAWN
HOLD BACK THE DAWN
HOLD IT BACK
BACK BACK BACK

Personnel:
Winston Marsh - Growls/Guitar
Greggory Marsh - Sampling
Naoki Amane - Production
Renee Belamont - Bassist
Paul Glover - Percussion/Drums
Gary Finch - Clean Vocals/Guitar

Edited by user 14 May 2011 06:10:44(UTC)  | Reason: Not specified

Renee: Thanks! We've finished up the new artwork for Space Whale Epidemic under its more serious name, 'This War Can't Hurt Me'. Space Whale Epidemic was basically a first draft of This War Can't Hurt Me.

Overview: This War Can’t Hurt Me is a second take of Space Whale Epidemic which features sketchy lyrics and whispers in the place of screams. While Space Whale Epidemic was more about the band coming together, This War Can’t Hurt Me is an ode to an ancestor of Paul. He fought in the Second World War and died while hauling an injured comrade through the trenches. This War Can’t Hurt Me was the heading to one of the unfinished letters he was prepared to send his wife. This is probably the most serious song of the entire album and its themes include fear of death and the question of existence.

Sound: The song begins with a slow refrain from a violin that lasts half a minute before Paul’s drumming starts and with no guitar work, Winston begins to sing the first verse. During the first verse and the first singing of the course there’s light piano work(courtesy of Greg). Afterwards a small interlude comes in the place of Renee playing a bass solo inspired by multiple ska works(reminiscent of A-Punk by Vampire Weekend) and after a full minute of only bass Winston and Greg come in with their guitar work and Paul’s frantic drumming. Winston and Greg’s guitar playing weaves around each other and finally the song ends with all the instruments suddenly stopping and feedback from Renee’s bass.

Lyrics:
ITALICS = WHISPERS

The farther I’m away
The harder it is to remember
Remember the small things
The closer I’m to death
The harder it is to feel regret
For the larger things
But time is falling away
Into the abyss of love
Kid you’ll never survive

I’m having lots of trouble looking past your broken exterior
I need a little help getting through this time
There’s nothing these two eyes can see
But if I could remember all the good times
Then this war couldn’t hurt me
I’m having lots of trouble looking past your broken exterior
I need a little help getting through this time
There’s nothing these two eyes can see
But if I could remember all the good times
Then this war couldn’t hurt me

[Interlude]

Yeah yeah nothing can stop me now
Nothing till infinite regret
And I’ve got this utter feeling of yesterday
This feeling that death is just a cog
A cog of fucking time making me hungry
And I listen out for the doorbell to matter
I’ve got no matter to speak of so why
Why do I fucking listen to you every morning
Is death going to be my refrainless finale?
Who am I hoping to be?
Someone without a care in the world maybe?
No, I’m hoping to be dead
Cuz in death I get that ultimate feeling of utter HONOR
And maybe then I’ll be able to finally look in your face and tell you
Tell you what I’ve been hoping to for a while
Tell you ‘I hate you from the bottom of my fucking heart’

Personnel -
Winston Marsh - Vocals/Guitar
Gary Finch - Guitar
Renee Belamont - Violin/Bass
Paul Glover - Drums/Percussion
Greggory Marsh - Piano
Naoki Amane - Production

Edited by user 15 May 2011 01:07:42(UTC)  | Reason: Not specified

Brandon: Wow, I have a feeling that I'm gonna become obsessed with this record.

Fuck yes, is all I have to say to this so far. By all definitions of the word, I am definitely a Black Hole Kid, so I've been waiting quite a bit for your debut. Looking forward to seeing what magical treasures will be found in this.. pirate chest of music. I need to stop with the analogies...

-Eric Quillington

Edited by user 15 May 2011 05:44:43(UTC)  | Reason: Not specified

Paul: Right on Bill, you were awesome to work with.



Renee: Haha, yeah we wanted the album to be quite cool in terms of the sound and the feedback and blah blah blah. Glad you like it.

Winston: Yeah boss, we're happy to be on MOFM. It's the funnest label!

It's nice to know that, if my musical career failed, I could've fallen back on news broadcasting..

-Eric Quillington

OOC: That was actually really creatively done, I liked that. The whole radio chatter intersecting with the song was very unique; you've got some very good ideas with these tracks, so I'm really interested to see what else you have in store.

4. A Fine Tune and A Nice Bottle Of Champagne Will Get Any Belle At The Ball Into Your Bed/ Fending On Your Own [3:21]

Overview: When Renee first moved to Seattle, she wasn’t popular at all. Not many girls at our school wanted to be in a band so she was frequently bullied, this is her lament to those days and kind of a “HAHA, this is where I am. Where are you now?” Kind of a speech. Gary was quite happy to let it onto the album.

Sound: The vocals are all sang by Renee and she’s backed up by a female choir. The guitar riff is continuous and builds in complexity after starting simple(similar to Misirilou), the drumming is frantic and wild using the bass and kick pedal quite a lot while Renee’s bass simple backs up the main riff.

Lyrics:
Yeah you, you see yourself as imperfection
You, you take yourself for granted
But you’re all alone [All Alone]
And it’s to no surprise [All Alone]
That you. Are. Here.


You can excuse me
For not taking rejection so easily
But I’m one of your two-bit whores
I’m a different girl
Of a different type
and I don’t know why
Why I thought you’d be different
Why I thought you’d care

No one knows what it’s like to be me
No one knows what it’s like to sit on the perpetual sidelines
But I can hear your hearts beating
The fear, the tears, the sweat
Who is she?
You ask yourself as you see me crossing the halls
Who is she? Who is she?
Why. Is. She there? (Are you there?)

You can excuse me
For not taking rejection so easily
But I’m one of your two-bit whores
I’m a different girl
Of a different type
and I don’t know why
Why I thought you’d be different
Why I thought you’d care

Personnel:
Gary Finch - Guitar
The Chicago Female Baptist Choir - Vocals
Renee Belamont - Bass/Vocals
Paul Glover - Drums/Percussion
Winston Marsh - Guitar
Naoki Amane - Mixing/Production

Edited by user 29 May 2011 05:19:56(UTC)  | Reason: Not specified

Great, great work boys!
- Bill Owens