![Osprey037[Reported Failure]](/forum/resource.ashx?u=485 "Osprey037[Reported Failure]") Rank: Advanced Member
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 "Being Man" is the newest single from Reported Failure's album "Darkness" (coming soon). The single is available for download today. Vin Peters of Reported Failure released the following statement: "i know the release of our album is taking a lot longer than was originally thought, but were going to release this single and then see how things go. I hope you enjoy it. The album should be available in some format be June". The band recently picked up 5 Chaos Award nominations including best single for their single "Crumbling". They won the award for best Band. It was their first win. Their album was originally scheduled for February 21st, but drama with the band's label changing dramatically, and the band needing a break and pulling out of events like TA5 caused them to rethink releasing the album so soon. Despite speculation that Reported Failure would leave Nomad Records, the single is being released on Nomad and Reported Failure has denied that they are talking with other labels about releasing their album later this year. (Info from original album thread) Quote:Being Man Songwriter: Billie Beckett
Producer: Vin Peters, Jason Smith
Length: 4:32Sound OverviewThe song starts with delayed guitar from Vin as Billie sings sensitively (and later James Urie) and Robert plays the cymbals. The prechorus comes with an epic melody from the full strings section from the london symphony orchestra as KC screams and Billie belts out a few lines. The very catchy chorus is a climax of passion and melody as all intruments harmonize beautifully, and Robert pounds away at the drums. The melodic transition part of the song has Billie singing with a distant echoed effect, Vin playing chords again, and a xylophone and organ in the background. The bridge has the most incredible melodies between all instruments that Reported Failure has ever achieved as Vin plays an immense guitar solo before the final chorus.StringsThe song starts with Vin on guitar playing chords with a very smooth delayed tone
The song continues in this way as the first verse begins. Vin plays the chords with little fills here and there
As the second verse builds KC comes in with an undertone of power chords
Matt also joins on bass playing root notes for just a short time before the prechorus begins
After the second verse peaks an extremely epic melody is played by the full string section of the London Symphony Orchestra
Vin with his delayed guitar tremolo picks in the background as the orchestra plays
Towards the end of the prechorus a piano begins playing chords syncronized with KC's power chords and the root notes of Vin's tremolo picking and Matt's bass playing.
During the vhorus KC furiously plays loud chords throwing in licks to transition from chord to chord
Meanwhile Matt plays a powerful bassline that is mirrored by a very similar melody on piano
Vin plays an incredible sweep picking riff that compliments the piano very well
The transition section of the song is mett with everything dying down but the guitar and piano
The piano plays very softly very high
Vin goes back to the chords and melodic fills that he played towards the beginning of the song
The second prechorus and second chorus are just like the first
The very epic orchestra melody from the prechorus is played throughout the bridge
Matt plays a variation of the bassline he played during the chorus while the piano does the same but goes slowly up from one octave to another
KC plays power chords as Vin fires away at a incredible sweep picking solo that both mirrors the orchestra melody and then goes off into a completely different world of melody in what is the single greatest guitar solo that Vin Peters will probably ever write in his entire life
Finally everything climaxes at the end of Vin's solo and the last chorus is played VocalsBillie's vocal tone in the first very melodic verse is very smooth and sensitive
James Urie comes in to sing the second verse in his typical tone
The prechorus is screamed by KC James and aggressively sung by Billie
The chorus is a vocal climax of passion and melody by both Billie and some help from James Urie
The transition finds a vocal effect on Billie courtesy of Jason Smith's production skills. The effect makes the vocals sound slightly distant and with lots of echo to make the melody very haunting and memorable
Billie, KC, and James Urie all bring their most passionate vocals for the rest of the song PercussionRobert starts the song with evolving cymbal drumrolls
In the background there is a xylophone copying the vocal melody
As the second verse ends Robert pounds more consistantly on the drums and heavily hits them before the prechorus starts
In the prechorus Robert hits the drums every measure which compliments the very epic feel of the orchestra and vocals
The chorus has very fast punk rock drum beats from Robert with lots of cymbal work and quick fills
Robert gets a break during the transition and only the xylophone continues
Robert's intense fast drum playing continues through the second half of the song.OtherThroughout the transition there is odd phasing alien like organ sounds playing in the background courtesy of Jason SmithLyrics KeyBlack - Billie Beckett
Dark Red - James Urie
Orange - KC James
[Verse 1]
Will you say that I'll be here
That I'll never disappear
Will you breathe into my lungs
Tongue tied to touching tongues
[Verse 2]
I can say that I need hope
To untie this deadly rope
And make sense out of something
Before were all smashed to nothing
[Prechorus 1]
Can I still climb the mountaintop
When the nightmares just wont stop
Can I seem to figure out
How all I am is full of doubt
All that makes things be me
are shadows of stars I can see
All the fights that I can stop
They can't take me to the mountaintop
[Chorus 1]
What does if mean if I'm not human?
Where can I stop?
When the pain leaves me broken
And the mountain has no top
I could never be
More than I see
More than I see as me
But still I can't define, the species of my mind
[Transition]
Growing old is like peeling an onion
To find the stench of inn er soul
Eyes tear
Tongues quiver
Nostrils flare
As each layer goes by
The aroma settles in
So heavy, so unsettling
Tears blur vision
Misconceptions form
The blur becomes so typical
It's existence is forgotten
Reality bends
Dementia becomes the new normal
Every layer falls to the ground
In the form of crushed ideas
Lost loves
And missed opportunities
Senses become misguided instruments
The tongue for manipulation
The touch for quick lust
hearing for self-indulgence
Taste for numbness
Sight for alienation
As the last layer falls
It reveals the darkness
It reveals the darkness
[Prechorus 2]
Could this be a new beginning
When the sky is just falling
Now that history is left unread
No one knows I've always been dead
Could my time be made use
Instead of broken life abuse
All the fights that I can stop
They can't take me to the mountaintop
[Chorus 2]
What does if mean if I'm not human?
Where can I stop?
When the pain leaves me broken
And the mountain has no top
I could never be
More than I see
More than I see as me
But still I can't define, the species of my mind
[Bridge - Instrumental]
[Chorus 3]
What does if mean if I'm not human?
Where can I stop?
When the pain leaves me broken
And the mountain has no top
I could never be
More than I see
More than I see as me
But still I can't define, the species of my mind
Commentary
Matt: Best song from us that you will have heard to date.
Vin: Easily one of the highlights of not just this album but our entire career. This song will no doubt be a single down the road. The melodies, the lyrics everything as at a whole higher level than everything we've ever done before.
Billie: My favorite song to date. The song is really about doubt, about wondering if there is something wrong with you just because of thoughts that seem maybe self destructive or too hateful. Love this song. There is also a lot about just finding that life is shit sometimes and trying to figure out why and if you can handle it.
Robert: I couldn't say anything more. This song is the best we've ever made.
KC: Look at what everyone else said haha. Loved making this song and working with Jason Smith again. It's brilliant. |
 I might give Satan a swirly |
 1 user thanked Osprey037[Reported Failure] for this useful post.
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 Rank: Advanced Member
Groups: Moderators, Registered Joined: 21/07/2009(UTC) Posts: 54,407   Location: Leeds, England Thanks: 3469 times
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Josh: Wow....if I was cool, I believe I would refer to this song as "sick" right? Or not, I don't know, I can't really pull of cool very well. What I can do though is tell you that I like this...a lot. Great work.
OOC: Love the way it's all laid out and described. Brilliant work. |
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 Rank: Advanced Member
Groups: Moderators, Registered Joined: 11/02/2009(UTC) Posts: 9,033  Thanks: 5178 times
Was thanked: 7399 time(s) in 2464 post(s)
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Vanity: Normally, this wouldn't be my type of thing. But thankfully, I know good music when I hear it and this is more than good, I think I have to agree with you guys about this being your best song to date, fucking epic. I think you may have just found a fan in me.
OOC: As always, love the detail you put into your songs. Great stuff! |
  ACTIVE: Vanity x Nadia Berry |
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Rank: Advanced Member
Groups: Registered
Joined: 03/04/2010(UTC)
Posts: 2,348
Thanks: 1149 times
Was thanked: 1780 time(s) in 805 post(s)
|
OOC: Thank you. Thank you very much
Billie: Glad to see we've made some new fans. We'll keep it coming. |
I might give Satan a swirly |
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