Introduction:
The process of musical analysis is a deeply personal one, and ultimately pseudo-scientific. There is no universal description of the effect of a given series of notes on a particular listener, though there are generalizations. What can be discussed in simple, objective terminology are things like the general harmonic character or rhythmic traits of a section, the arrangement of sections, and the transitions between them. From this, we can also derive an elementary understanding of the music’s effect on the listener, which is loosely described as the creation, control, and relief of tension.
In a strictly technical sense, most harmonic relationships are divided into “consonance” and “dissonance.” Consonant tones are pleasing to the ear, and further generally divided into major and minor harmony. Dissonant tones are ones which are jarring or disturbing to the ear, and serve to create tension.* The art and science of music is, at its simplest, the manipulation of tones to create and release tension in the listener. These scholastic descriptions are partial, however, as music described with any term may be happy, sad, heroic, unnerving, or any other adjective the listener feels appropriate. I have opted herein to offer my personal feelings on the mood of certain melodies, though these are in no way universal truths.
(*This is an oversimplification, but the whole thing is a semester of music theory or a night on Wikipedia.)
Rhythm is similarly difficult to categorize and describe in terms of its final artistic impact. Rhythm does not carry a mood in the way that harmony and melody do, but it can influence those moods. Fast, active rhythms convey feelings of speed or “smoothness”, while slower, punctuated rhythms (the heaviness in metal) accent melodies and create irresistible impulses to move to the beat in the listener. Syncopation (which describes rhythms that accent notes other than the standard beats) allows the creation of unique melodies which place different levels of emphasis on certain tones.
Related to rhythm is tempo. Tempo is the actual rate at which beats occur. Faster tempos generally create a frantic tension and imply a sense of urgency. Slower tempos, while often mellow, can be used to create powerful dramatic moments or heavier riffs. In my description of songs, I will at times improperly imply a shift in tempo. While moving between one tempo and double- or half-time (playing twice or half as many beats in the same space, respectively) is not technically a change in tempo, the listener will perceive one. Syncopation does not require a change in tempo, but playing more or fewer beats in a measure will make the music seem faster or slower.
What is presented is only intended to offer insight on technical, stylistic, and thematic elements of the album. If you prefer your music at face value, without technical considerations, skip this. If you are accustomed to properly academic technical discussions (as found in analysis of classical works, for example), this will probably not rise to the level of commentary to which you are accustomed. If you have not familiarized yourself with the album through independent listening, I strongly encourage you to do so first.
I will begin with an overview of the album, followed by a deeper investigation of each song in album order.
(Further reading: Harmony, Melody, Rhythm, Tempo, Syncopation)
Navigation:
1. We Are The Void
2. Shadow in Our Blood
3. Dream Oblivion
4. The Fatalist
5. In My Absence
6. The Grandest Accusation
7. At the Point of Ignition
8. Her Silent Language
9. Arkhangelsk
10. I Am the Void
11. Surface the Infinite
12. Iridium
13. Star of Nothingness
14. To Where Fires Cannot Feed
15. Out of Gravity
16. The Bow and the Arrow
17. Lyrical Concept, Themes and Motifs
The process of musical analysis is a deeply personal one, and ultimately pseudo-scientific. There is no universal description of the effect of a given series of notes on a particular listener, though there are generalizations. What can be discussed in simple, objective terminology are things like the general harmonic character or rhythmic traits of a section, the arrangement of sections, and the transitions between them. From this, we can also derive an elementary understanding of the music’s effect on the listener, which is loosely described as the creation, control, and relief of tension.
In a strictly technical sense, most harmonic relationships are divided into “consonance” and “dissonance.” Consonant tones are pleasing to the ear, and further generally divided into major and minor harmony. Dissonant tones are ones which are jarring or disturbing to the ear, and serve to create tension.* The art and science of music is, at its simplest, the manipulation of tones to create and release tension in the listener. These scholastic descriptions are partial, however, as music described with any term may be happy, sad, heroic, unnerving, or any other adjective the listener feels appropriate. I have opted herein to offer my personal feelings on the mood of certain melodies, though these are in no way universal truths.
(*This is an oversimplification, but the whole thing is a semester of music theory or a night on Wikipedia.)
Rhythm is similarly difficult to categorize and describe in terms of its final artistic impact. Rhythm does not carry a mood in the way that harmony and melody do, but it can influence those moods. Fast, active rhythms convey feelings of speed or “smoothness”, while slower, punctuated rhythms (the heaviness in metal) accent melodies and create irresistible impulses to move to the beat in the listener. Syncopation (which describes rhythms that accent notes other than the standard beats) allows the creation of unique melodies which place different levels of emphasis on certain tones.
Related to rhythm is tempo. Tempo is the actual rate at which beats occur. Faster tempos generally create a frantic tension and imply a sense of urgency. Slower tempos, while often mellow, can be used to create powerful dramatic moments or heavier riffs. In my description of songs, I will at times improperly imply a shift in tempo. While moving between one tempo and double- or half-time (playing twice or half as many beats in the same space, respectively) is not technically a change in tempo, the listener will perceive one. Syncopation does not require a change in tempo, but playing more or fewer beats in a measure will make the music seem faster or slower.
What is presented is only intended to offer insight on technical, stylistic, and thematic elements of the album. If you prefer your music at face value, without technical considerations, skip this. If you are accustomed to properly academic technical discussions (as found in analysis of classical works, for example), this will probably not rise to the level of commentary to which you are accustomed. If you have not familiarized yourself with the album through independent listening, I strongly encourage you to do so first.
I will begin with an overview of the album, followed by a deeper investigation of each song in album order.
(Further reading: Harmony, Melody, Rhythm, Tempo, Syncopation)
Navigation:
1. We Are The Void
2. Shadow in Our Blood
3. Dream Oblivion
4. The Fatalist
5. In My Absence
6. The Grandest Accusation
7. At the Point of Ignition
8. Her Silent Language
9. Arkhangelsk
10. I Am the Void
11. Surface the Infinite
12. Iridium
13. Star of Nothingness
14. To Where Fires Cannot Feed
15. Out of Gravity
16. The Bow and the Arrow
17. Lyrical Concept, Themes and Motifs