FistPump: you remember Mind?

GoreCocker: of course I remember mind dipshit! Why?

FistPump: I bet this album will be as awesome! I love it so far. Let me buy it!

This album is going insane. Awesome!

- Tom Orgsen

Jason: Thank you very much and I wish you the best of luck in your quest. The crotch may be hard to find, behind all the fur and stuff.

Jason: Thx bbz!! xoxoxo. In all seriousness, thank you...

Jason: Really? That's uncanny! People always mistake me for a French girl as well!

Erich: that is what makes it fun.not only will the beast be in pain from the groin hit,it will also be pissed by having it's hair pulled.then,just 'cause i like you,i'm going to be like " whatsa matter,bigfoot? You didnt realize there's a new sherriff in town,with a hatred of big foot nads?" That will really piss him off.yetis hate being mistook for bigfoot.

Karoliena: all those anti drug commercials never sunk in, huh?

Erich: nope,i took them as a challenge.

Stacey: Loved working on this track, it's some pretty genius stuff by Jason and I'm honoured that he chose me to be on the song, Good job fuzzball ;)

OOC: All of this has been great, good job man.

Winston: What Renee said pretty much sums up the rest of the bands thoughts on this. I also have to agree with Erich, money doesn't seem like the right thing to be giving for a tour de force like this.

OOC: I like the number of guests, descriptions, lyrics and diversity of genres with the tracks. I can say I thought Eric would make a guest appearance on this record due to Dividing Divinity and all that, I didn't think Michael Caiff or Stacey Walton would make an appearance on here.

This one's a short, very sharp and chaotic lesson in industrial music. It's from my Mind days, but it's better suited to this environment... not the best track ever, but it'll do.


11. An Insiders Perspective (Electronica/ Industrial Metal) (2:26)

The ambient chill noises soon grow more strained and angry and turn into loud mechanical, industrial ones. A noisy, machine like drum pattern flows into these noises and turns into a rhythm that you can clearly make out. A straight forward industrial metal guitar then comes into play suddenly. Everything turns into a massive wall of sound, with creepy loops and screaming constantly being played in the background. The song isn’t sung so to speak... more spoken in a strained voice. It’s like this the whole way through; with the odd metallic scream at the end of a line, particularly on the last word in each verse. What happens in the background is much more interesting than the song itself really. It’s very jumbled, but if you dissect it, it reveals an unusual layer. There are choirs, violins, Theremin, quiet guitar arpeggios and electronic sequences in it, all pushed back by this blatant layer of noise. This is deliberate though; without it, it would sound even weirder. Towards the end of the song, the choir and orchestral sounds become more frequent and obvious to make out as it fades into Soaked to the Bone subtly. In the background at the end, some more illegible words are spoken.

Throughout this pitiful crime,
Namely this life,
Gargantuan die!

I’m bringing you a view,
A view from me to you,
Prince of amalgam!

Inside the mind,
You may find,
A different view,
This view is mine,
This view is blood,
This view is true.

Can't believe we're here... the end of the album. It's been a tough, emotional ride, but I've really enjoyed doing it and I hope you will enjoy listening to it. Final two songs coming up now, with the second one being an outro. After this, I'm going to write a little bit on why this album is so important to me...


13. Blood Cold Motion Sequence (Experimental Rock/ Progressive Rock) (14:59) [FEATURING MIKE SNEAP of EMPYREUS]

A slow, dirge march on the drums quietly gets louder and louder, until it can be heard clearly. It is similar to the soundtrack in those WWI/II films. This carries on for a while, building up a lot of dramatic tension until a drum solo appears to bring it all crashing down. Once this has happened, it goes back into the march with a loud and sinister guitar riff alongside it. The bass is playing random arpeggios throughout the whole riff here. A crack of thunder rings out every now and then. The riff is actually quite similar to I Want You (She’s So Heavy) by The Beatles mixed with Black Rainbow by Coheed and Cambria. This goes on for about a minute before the vocals finally settle in. Once they do, the background music gets quieter, apart from the drums and the bass, while the guitar is left playing a complicated, yet timid guitar riff, sounding quite Latin in origin. Once the first verse ends, everything fades into an ambient guitar piece. It’s basically a few solitary guitar notes with lots of ethereal and spacey effects surrounding it. In the background, you can hear the static voices saying the next part of the song. This continues for a few minutes, the drums getting progressively faster in the background. The vocals in that segment eventually end, and the whole song turns much faster. The drums are at a galloping pace now, to go perfectly alongside the new western-style riff. Every now and then, there are sporadic bursts of guitar wankery. Another guitar, this time from Mike Sneap enters the song. It is an extremely complicated arpeggio riff mixed with some slides and tapping, similar to the speed metal Jason was once famous for. It then goes much slower, yet louder and a huge guitar duel commences between the three guitarists in the song. This goes on for about 3 minutes with occasional timing and riff changes that spice the song up a bit. This is the sorta thing that is likely to get voted “#1 Solo of the Decade” or whatever. After this shameless showing off has finally finished, it goes back to its initial riff, except even slower and the vocals are in more of a chanted form. This continues for the last two verses, where a subtle scream ends the track vocally. The instrumentation after that takes yet another turn. It goes into a fast, almost poppy riff which has some sinister undertones. Lots of random instruments, such as a sitar, glockenspiel, Theremin and xylophone then make a huge firework display of noise, possibly the loudest throughout the entire album, until it cuts out into ambient noise. For the last 2 minutes or so, mechanic industrial noises make sure that the song connects perfectly into “Heavens Open”.

Is the point of this game to merely survive?
How can it be a living hell when you were never alive?
Stop wasting rhetoric on me though,
You know I’ll never listen.

(It’s not that I hate life,
Just that I don’t get it...
No one is happy until they do,
We seek out more information,
Placing ourselves above our fairy tales,
Not so naive anymore.)

Today is perfect for me,
It won’t get any better,
And I think it suits me rather well.
Today isn’t awful for me,
Still won’t get any better,
And I think it suits me rather well.

Shattered a fairytale, as it may be,
You should stay away from me,
I’m about to go up in flames,
You’ll be scorched by me once again.

I don’t want to be the joker anymore,
I have my own life to live,
Behind this veil of amusement,
I have nothing to give.

14. Heavens Open (Industrial/ Ambient) (1:32)

The mechanic noises subside into the sound of the oceans crashing and a beautiful, intricate acoustic guitar jamming out alongside it. It is very chilled, a sort of rest after the journey that’s been had, especially in the last track. A spacey, new age synthesizer also appears about 30 seconds into the song, giving it a really relaxing feel. Radio sound can be heard and the reprise of harp arpeggios also appear. Suddenly, the wave sounds get louder and a bell is heard ringing. Then, screaming. Not very loud, but screaming nonetheless. A demonic voice saying illegible, strained words in a crying voice appears on top of it, and it all builds up to a loud soundscape. A lone cymbal marks the climax of the music on the album, before the demonic voice laughs and says the sole line throughout the whole song.

[We are more often treacherous through weakness than through calculation.]
What a spoilt little child.


Sooooo there you have it! As I said, one more post is coming up to explain everything to you from my point of view. This album may not give you nightmares, but it will to me.