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The introduction of the album begins with Hope You Hear This, demonstrating the soft elements sort for in genres symphonic rock/metal, melodic metal and classical rock; with a gentle atmospheric of a thunderstorm forming while a grand piano plays downheartedly, reminiscent of Within Temptation and Elliot Minor, before launching head on into lyrical desperation, the vocalist’s voice a soulful tenor, with his octaves just reaching over to the fast paced drums, if not becoming entwined. In amongst these constant changes in the sound, are aggressive growls, with an intrusive nature as if they are segments of a multiple personality, the sound of the drums echoing that of the traditional military march.
In contrast, Somewhere Else ventures closely to the distorted sounds of death metal, nu/rap metal, combining the notorious aggressive growls and the established chants of rap/hip-hop verses, followed by calming, clean vocals. As it comes to an end, the instrumentalists experiment with the darker genres of dark wave, ethereal wave, and dark ambient, giving the illusion that the character in question is going through a turbulent time, or in a hallucinating state of night terrors.
My Horizon takes a new turn, introducing us to the soft dynamics of a rock ballad, before erupting into the primitive snarls, as if someone interrupted this dramatization of unrequited love, heartbreak with uncontrollable anger, either from an outsider or the narrator as he recollects to a better time and place.
Featuring Chris Vaughn of experimental metal band Danger Silent, Abusive Animal is a musical clash of death metal and classic rock, musically demonstrating the personality struggles of the protagonist, as Vaughn’s perspective draws us to the idea he is the ignored logic of the conscious state of mind, begging outsiders to assist in finding him “hope”, while the demonstrative hostility interrupting him is the side of him that doesn’t wish for change to happen. You can hear the pleas to be released as his character is cowered, to a wall perhaps while his demons surround him.
Vaughn later features under his pseudonym Danger Silent in Temporary Disabled, which musically shares similarities with not only death metal, but death/gloom (the genre founded by Anathema, before transforming into progressive rock/ambient rock). For the subtle, saddened pull of the electronic guitar strings; giving a mournful hue, an emotional and psychological fight gone wrong, or not won.
Burn, Break & Give Up, though musically in the format of death metal with the rough outlets, demonstrates the rare format of the punk era, where the lyrical structure is fast paced, and subject destructive, almost anarchist as it promotes the social deconstruction, asking us to “break it, burn it”, whatever that may be, leaving it to the listener’s imagination.
Transcending into the instrumental rhythms of power metal, with a harshness of hard rock; Recreated transfers back and forth with clean and disfigured vocals significant to death metal. The clean vocals have an essence of that of Stephen Christian of alternative/Christian rock group Anberlin. As in the previous track Somewhere Else, the transition into the electronica of nu-metal manifest into the mix, with skittishness, like a life was ripping itself apart.
The guitar solo of Forgotten can alomost be seen as a tribute to Disturb’s Haunted, originating from the album Indestructible (2008), where the strings are slowly plucked with the sensation of grief, regret. You can envision someone standing over a lonesome grave, as the vocalist seems to capture the gruff foundations of David Graiman (Disturbed, Device). With the momentum of a stuck record, the tritone is on repeat, playing in the background while there is a crescendo, while the vocalist is crooning in despair. Coming an end, selective synthesizers replicate a vinyl trapped upon the player.
Consumed opens up with a quick, jammed crowning of the guitar, militaristic drums interlude the bridge towards slower rhythms that if brought into the physical world of a rock venue, would be accompanied with head-banging, accompanied by gross, death-metal vocals. The vocalist’s protagonist is patronizing and degrading another character, like another personality within a multiple personality disorder or schizophrenia. The vocalist’s voice then transforms to crystal clear, to shed light on the tormented soul beneath.
Then there comes a change, like the sane perspective of the protagonist becomes angry with himself at not shaking of this metaphorical demon that is whispering negative thoughts into his head, switching back and forth between the characters, coming to a point of resolution.
Changing their musical direction in Addiction (Carousel), Defect In You seem to fuse the instrumentals of post-hard rock, with fundamentals of industrial dance similar to the sound of Prodigy, the vocalist has a psychotic feel to his voice, possessed by the thought of sexual intimacy from his partner, beneath it distorted, demonic voices symbolizing the instinctive reaction. The fairground ride carousel is a reference to the joyous sensation of the interactions of sex.
3rd Existence lyrically has the vocalist illustrating himself going through a self-evaluation of himself, possibly depression or a dark prospect in his life, describing his need in third person about wanting to either change himself or another character for the better, his voice becoming more deranged with every second (captivating the sound of David Brockie of satirical metal band Gwar). He is coming to describe a destructive relationship with his lover which may be the cause of his reevaluation, disliking his subservient position.
Returning to a signature sound of death metal with hints of speed metal, gruff vocals demonstrating anger and self-doubt. Clear vocals replace the aggression, with what is implied to be the revelation of a murder of a loved one, directing frustration of the person who committing the crime, leaving to the listener’s imagination whether it is the protagonist after their own act of crime of passion, showing regret, or a secondary character.
Coming back to the foundations of a rock-ballad set-up, Fall Through Delirium centers around the idea that the protagonist could be waking up from a dream, the fading into music that has an echo of acoustic . There is a saddened, perhaps exhausted sound, like the character the vocalist is portraying is struggling to keep fighting. He is admitting defeat, the chorus establishing a touch of alternative rock, the guitars deliberately out of tune in some places as he sings about falling through delirium. How the song fades back out, it seems there is an illusion of the character retiring back to sleep, or passing away.