Before I start, I'll get some of the information out of the way first. I'll be posting the intro and the first song together, and the final song with the outro together, so you're satisfied. The album will be released once the last track has been posted.

- Slipcase cover
- Album cover

The first two tracks are Heaven Sent and Two Trees, so let's start!


1. Heaven Sent (0:41) (Ambient/ Industrial) [INSTRUMENTAL]

A melancholy synthesized sound fades in to begin the album. It plays a sad melody, with a luscious layer of ambient crawling beneath it. The sound eventually get louder, and instead of a sad melody, it now goes extremely erratic, a mixture of beeps and unusual instruments. Some incomprehensible whispered lyrics are hidden beneath it, but it’s practically impossible to make them out since the lyrics booklet doesn’t help at all. It gets louder and louder until the tension just disappears with a cymbal crash... it then goes back to an ambient backdrop with a harp arpeggio playing. Industrial noises, however, get louder and louder until it cuts into the next song.

2. Two Trees (5:57) (Art Rock/ Progressive Rock)

All the industrial noise builds up and eventually winds down into an insanely complex, yet peculiarly catchy riff on Jason’s guitar, similar to the more eclectic stuff of Mind, except slightly more poppy. It is polyrhythmic, making for a very interesting drum pattern. It also has a slightly boosted bass, whilst the second guitar is playing a slightly simpler galloping riff. The first verse is sung in an unusual tone, with a mix between indie rock mumbles and operatic and exaggerated bellows. The second verse is where everything changes. A clusterfuck of instruments mark a turning point, where both guitars go into a downtuned, djenty sound and the drums give off a metallic sound. As in heavy metal, not St. Anger. The vocals in this second verse are low and quiet, with a lot of emphasis on echo. It is the same polyrhythm as the first though. A chorus, or what’s closest to a chorus in the whole song, then appears. High guitar arpeggios mixed with a bluesy riff and ambient effects beneath it are what it is comprised of musically. The vocals are in the operatic style of before. The third verse goes in the same direction as the second. After this, things start to get even WIERDER. Everything speeds up and it goes into a punky riff with industrial beeps and blips beneath it. All of the vocals from this point until the final verse are screamed beneath static, so you can’t quite make it out. You can tell that this song is possibly going to be the busiest on the whole album. In the final verse, the drums go into a drum roll, the guitars totally disappear and let the bass start talking. The vocals are sung loudly, with the lyrics in brackets sung quietly behind it. It ends suddenly, with the sound of a guitar being dropped.

Two trees, but one is taller than the other,
Light now, then shade will soon blow its cover,
And the minerals, that rest in the ground for them to devour...
And they will.

Two timed, the bastard pro-creates,
More lies, when friendship turns to hate,
Conformity, we don’t want to go down,
Simply.

Freedom, I’m free now,
I’m free now, freedom.
Freedom sings out loud...

Two trees, can you now follow me?
Right here, lay the invisible bodies,
Ghosts are waiting to take you away,
And they will.

The roots are bloodied,
We are thirsty,
So hungry,
Time to feed...

Now, bring me down.
I dare you, bring me down.
This tree, no longer,
In conformity,
So bring me down.

Now, bring me down. (Save me, please)
I dare you, bring me down. (No longer I need)
This tree, no longer, (Two trees)
In conformity, (Resting in me)
So bring me down.

Bring it down! (Save the world)
Bring it down! (You know you want to)
Bring it down! (Holy Father)
Bring it down! (Is resting)
Bring it down! (These two trees)
Bring it down! (Remain bloodthirsty)
Bring it down! (Offer yourself)
Bring it down! (To these leaves)

Edited by user 30 April 2011 03:49:10(UTC)  | Reason: Not specified

Jason: Thanks man! All in all, there are only a couple of metal tracks so to say on the album, but there are a lot of heavy aspects to it. It's certainly darker than anything I've ever made before.

Daniel: Wow "Two Trees" really touched me. Love it man! Craving for more right now!


OOC: This is awesome!

I'll be buying this Masterpiece for sure!
- Tom orgsen

OOC: Fuck, awesome RP man!

OOC: Nah, I just made it up on the fly really :P

We ready for track numero... tres? Here it is. One of the most aggressive on the album. You've probably already heard it, but here it is anyway.


3. You (3:01) (Art Punk/ Hardcore Punk)

To begin the song, a chunky, menacing riff similar to the early punk days of Mind is present. A second riff on the lead guitar then appears which is rapid and complicated, a bit like Thrash Metal. As well as pretty basic drums and bass being introduced afterwards, the song stays like this for each of the verses, in which the vocals are harshly sung. Not quite screaming, but more a throaty bark like System of a Down or various punk bands that you may find. The chorus is slightly different, with an electronic background being applied alongside djent-y, downtuned guitars and bass, with the drums playing a regular metallic pattern. The vocals are sung in a poppy voice for this part, which results in an effective contrast. The bridge is a whole different kettle of fish altogether though. Firstly, all the instruments disappear, replaced by an accordion. Then, all the vocals are sung in a doo-wop accapella style. For the reprise of the chorus, it then comes crumbling back to earth. The chorus is even heavier this time around and instead of poppy vocals, it goes to a traditional Jason screaming style. On the “you fucking hypocrite!” line, everything speeds back up to how it once was and Jason produces his finest scream on the whole solo album. It then goes into the normal chorus again and the song abruptly stops after it. In general, this song doesn’t have any special effects like usual, just plain balls-out rock.

Fuck off, back off!
There’s nothing I want to talk about...
Changing, raging...
There’s something that I have in store for you.

Leaning against the wall of your sanity,
Flicker in between.
I won’t resign to conformity,
This anger will not be seen.

Fountain of youth!
Corrupted.
Obstructed.

Leaning against the wall...
The wall...
Sanity beneath me.
Satan is all I want to be.
You fucking hypocrite!

Leaning against the wall of your sanity,
Flicker in between.
I won’t resign to conformity,
This anger will not be seen.

Crap does this mean I have to make a video now also??

This song turned out a lot darker than I thought... more dark ambient and less shoegaze. I still consider it one of my best though. Here is... Escapegoat. What do you guys think?



6. Escapegoat (7:01) (Noise Rock/ Art Rock)

A massive wall of noise introduces the song, with faint drum beats beneath, not dissimilar to My Bloody Valentine. More industrial piles mixed with the noises of the city begin to seep into the song. All the noise builds up to a high, before being cut down and revealing a desolate, spacey riff on top of a click track and light ambient touches. After a minute or so of this, a schizophrenic drum solo appears alongside the riff and it goes back into the noise. Here, the bracketed lyrics are spoken in a radio-like tone beneath the noise, quietly. The actual lyrics are also sung in a voice as calm as the waves and sounds fairly poppy, but without the blatant energy. On the line “let me slip through your head”, the noise gets quieter and a pompous, rocky riff replaces it. The noise is still blatantly there, but has just been brought down a level. It gets gradually faster until it explodes into a Mars Volta-like solo, absolutely mental. It then slows down and goes into a more unstable, uncomfortable noise. The vocals sound manically depressed and aren’t sung, but spoken whilst sounding like crying. The noise gets more unbearable, until a piercing scream breaks the silence, like a child’s scream, not the metal variety. It then goes into a crazy and dark riff, with lush ambience spread about. The last two lines are sung operatically, more so than ever before. This is one of the darkest songs on the whole album by a significant margin. After that segment, it fades out into a chilled, relaxed ambient techno piece with synths and a steady drum beat for a minute until cutting out.

(Don’t you realise while you criticize the system
We are the system!
We control our thoughts!
We are free!
We lie to ourselves, keep ourselves paranoid.)

We deter, we detest.
Who’s calling for you now?
We deter, we protest.
Who’s waiting for me now?
I may be broken, but I’m not beat.
I may be broken, I won’t back down.

Let me slip through your head...

I feel like I’m drowning,
A pool of decimals,
I can’t help but decimate,
My eyes have turned irate.

I feel quite comfy,
A sip from the hot tap,
Take a look upon your face,
There are no angels in this place.

I am the last shepherd,
I know what you heard,
It’s alien to me,
And I sit upon still waters.

I will look upon still waters,
Let me slip through your head.

Johnny: I can't say that there's anything to dislike about this album. I love it and it's going into my collection for sure. I'd love to collaborate with you sometime on an artsy or experimental tune for sure.

Joe: This album does not suck. We should make our own approval stickers that say that.

Johnny: Agreed and ditto.

The songs are great man, I want to have the album in my hands!
- Tom Orgsen