MAYH Story

Katabasis said:
I think he sees Death.

It's eerir really...the last thing he sees (death) is still here with him...beckoning from behind.

*nods*

creepy
nah, I doubt it.
I just had a thought, though... he probably means the White Cluster. He sees everyone dressed in white before him, the crowd viewing his execution. Then the angels behind him beckoning him into heaven are all cloaked in white. It makes perfect sense.
 
GreatPhoenix said:
nah, I doubt it.
I just had a thought, though... he probably means the White Cluster. He sees everyone dressed in white before him, the crowd viewing his execution. Then the angels behind him beckoning him into heaven are all cloaked in white. It makes perfect sense.
I really like that idea!!!
It adds alot to the dynamic of the story: an atheist seeing angels just before his death...beautiful.
 
Demoke said:
“The drapery falls” (paraphrasing: the fall of the curtain, or big piece of cloth, like in theatres) is a kind of metaphor for the clearing of a confusion, an enigma, or something that makes the first-person character in the song unable to sleep comfortably (counting nocturnal hours): the nightmare of the miseries of life.

There are two voices, or two characters in this song: first the man trying to sleep and to understand everything that appears so obscure to him (remedy my confusion). This something is causing him pain, every night (“pull me down again and guide me into pain). This first person is represented by Mikael’s clean voice. The music is filled here with acoustic guitars and atmosphere sounds.

“And guide me into…” (implied: PAIN) Here we fall into the character’s sleep, represented as night in the shape of a nightmare or a group of nightmares full of strange visions (drowned visions), and in Mikael’s guttural voice. As we’re sleeping, the images are shown in a disordered way and so is the incomplete language. This makes the song very difficult to understand. Nevertheless, we can gather some dark visions (failure, death, pale ghost, graves, violence…). These can be representative for the whole of human nature, which is so tainted and evil, if you want to find the parallel. The music, consequently, is also evil, with very aggressive riffs, and strong voice.

“Spiralling to the ground below…” The curtain, the drapery, falls down like autumn leaves, and the confusion is cleared now as we wake up to another day, which is filled with misery, the miseries of everyday life and everything that torments the character in his sleep is something that appears now as normal. In the music, we go back to the first riffs, the ones in which confusion was present, and the clean voice of the first character. This provides a cyclical movement for the song, and life itself, which happens to be always the same.

I wait for some other interpretations.
Wow, I never thought of Drapery Falls. Thats one of my least favorite Opeth songs (not that that means that much, considering that the song is still good) but it will be interesting to see if this changes my view...
 
Thank you crimsonfloyd. I think in Opeth songs there's always a very strong relationship between the lyrics and the music -hard or soft-. When this relationship is understood, then the songs get a very different "colour," and so, for instance, not long ago I found out why songs like "When" is such a great one, and is in the list of my very favourite ones, so is "The Moor"!

Tell me if you like TDF more now...
 
Hmm...yknow I always got a very distinct feeling that the protagonist in still life was back from the dead, like when it says "they would sneer at my demise" in the moor and other little tip offs like that, but it makes more sense the other way. My young brother thought HE killed her too, like when it says "melinda reflected in shafts" but I never really understood how that could work with the rest of the story. I the analysis in this thread is probably the most accurate description I've heard. I didn't have as much problem digesting mayh for some reason.
 
that was a very cool reading.

Really... know i understand a little bit more about the story behind MAYH

... its just soo hard to understad something, when you have a guy screeming like if he was possed by satan... spitting the entire english dicctionary
 
eeeeeeeeeeeeeeeeeeriecirclesuponthewatersssssssssssssssssssssssssssssssssssss
 
Here's my Still Life analysis, just as crimsonfloyd did his:
snip
That's a pretty good interpretation. Mine is a bit different because I imagine in Benighted that the main character is actually writing Melinda a letter, rather than speaking to her directly. And in White Cluster the last line I see as him seeing Melinda after his death implying that they are together again.
 
Correct, the SL protagonist doesn't see God, or Death. He sees Melinda.

Anyway... here's my analysis of MAYH, written a while ago, because I'm awesome like that.


PROLOGUE

A morning in magenta, the petals fed from the dew
She held her breath for a moment, to pause off the stream
Still clinging to vast, old memories
And I would marvel at her beauty, playing through the rain

(From amidst the shadows, the central figure watches a girl walking in the rain by a the banks of a forest stream. He quietly marvels at her beauty.)

The coffin is beautifully engraved
Stained by soil, symbols of death
All of which are stared upon, with porcelain eyes it seems

(Starkly, the lead character remembers lying within a coffin, his eyes glassy. It is now evident that he is dead.)

Some spoke, and it was my turn to go
In death entwined, I could not believe
But it hangs around my neck

(Having heard the sounds of his own funeral, the ghost left his body: almost, but not quite, in disbelief at his fate.)

A soft breeze passed me by, somewhat warmer for a second
I knew it was the coming of spring, and thus our April ethereal

(Remembering, here by the bank of the river where he watches the girl, he muses on the coming of spring.)


APRIL ETHEREAL

It was me, peering through the looking-glass
Beyond the embrace of Christ
Like the secret face within the tapestry
Like a bird of prey over the crest

And she was swathed in sorrow
As if born within its mask

(The ghost, invisible and unseen, quietly observes the sorrowful girl sitting in front of a mirror. An icon of Christ on the cross hangs on the wall, and the scene is lit by candlelight.)

Her candlelight snuffed, the icon smiled
Emptiness followed by her wake
I could clasp her in undying love
Within ghost-like rapture the final word was mine

She faced me in awe

(As the girl rises to leave, putting out the candle flame, the ghost reaches longingly for her and in a shocking moment she sees him.)

‘Twas a token of ebony color
Embodied in faint vapor
Wandering through April's fire
Compelled to grasp and to hold the one that was you

(The ghost, appearing as a faint white shape, pines for the girl in vain, for she is his widow and he is her dead beloved.)

I will endure, hide away
I would outrun the scythe, glaring with failure
It is a mere destiny, I thought
A threshold I had crossed before

(Not strong enough to sustain his visible form for too long, the ghost retreats, lingering unseen in the nearby woods.)

The rain was waving goodbye, and when the night came
The forest folded its branches around me
Something passed by, and I went into a dream
She laughing and weeping at once:

"Take me away."

I don't know how or why
And I'll never know when

(Finding himself in the wilderness, the dead man is presented with the unhappy memory of his widow, mad with grief, begging him to take her away with him. The ghost reflects that he is unaware of how to resolve their common misery.)


WHEN

Red sun rising somewhere through the dense fog
The portrait of the jaded dawn who had seen it all before
This day wept on my shoulders, still the same as yesterday
This path seems endless, body is numb, the soul has lost its flame

(The ghost notices that his constant consciousness and fatigued awareness makes the days bleed into one another.)

Walking in familiar traces to find my way back home

So there I was
Within the sobriety of the immortals
A semblance of supernatural winds passing through
The garden sighs, flowers die

(He returns to his old abode to see his widow once more, and enters the garden as a cold mist, his presence causing flowers to wilt as he passes.)

The gate was closed that day
But I was bound to carry on
She could not see me through the windows
In dismay, strangest twist upon her lips

(In the garden he pauses to admire his widow through the windows, and notes an odd expression on her face.)

Graven face, she said my name

(She seems to be speaking to him, perhaps apologizing for something…)

Once inside
I heard whispers in the parlor
The gilded faces grin
Aware of my final demise

And I cried
I knew she had lied
Her obsession had died
It had died

(Inside, he hears the whispered sounds of prayer. Only then does he realize that, to his anger, his beloved has stopped grieving for him and has instead turned to religion for consolation.)

When can I take you from this place?
When is the word but a sigh?
When is death our lone beholder?
When do we walk the final steps?
When can we scream instead of whisper?
When is the new beginning, and the end of this sad madrigal

(In a rage, he curses the patience of his plan - to wait until they can be together upon her death.)


MADRIGAL

Our abode amongst the stars is waiting,
Long enough for our last breath of life
You stare at nothing, right through me
At times resembling the Devil's concubine

(As he silently watches his widow, the ghost dreams of their reunion in the afterlife.)

And me, I am the idol that would long to caress your eyes
Until they would open no more
I would comfort you if I only could, but as we all know by now
I am just thin air

(He would comfort her if only he could, but as he now accepts, he is but a phantom. )

Unaware as you are of my presence
You are losing yourself
Hiding within the amen corner

(Thus she is seeking solace inside the chapel instead of in her memories of him.)


THE AMEN CORNER

White summer
So far I have gone to see you again
Hiding your face in the palm of your hands
Finding solace in the words I do despise

(As the seasons move on into summer, the ghost returns to see his widow still resorting to prayer and the church to relieve her grief instead of holding onto her love for him.)

You snatch at every sound
And even though you believe
That I am shackled within death
Memories are tainted with paleness
Crestfallen still
Those eyes, empty, like a barren well

(Although his widow still remembers seeing the pale apparition of his form, she has convinced herself that it was a dream and that his spirit has moved on.)

It was the only task I would undertake
To reap the harvest that was mine
The seed that had sprung into a florid meadow
And left me helpless in your embrace
The bond we never spoke of
Once stark and enticing, now slowly smoldering to dust

The celestial touch
From grey to black
A fathomless void enclosing
Unwritten secrets beneath the cobwebs, I can not endure

(The ghost resolves to bring her into the afterworld with him, as soon as possible, as the longer he leaves her, the more of a chance that she will get over her grief.)

And so I rose from my sleep
The moon turned away its face
Overture of the long, black night begins, something you said
"Eerie circles upon the waters"

(Determined, the ghost leaves his grave once more. He does not know exactly what he will do, but he may be driven to violence if it will bring his beloved to him.)

Until now we have shared the same aura
My ashes within your hands
My breath in the sepulchral mound
You know that your night is my day
The final spark that blew life into me
The demon of the fall

(He reflects that until this point, he had been a shadow following his widow day by day. However, he now has a purpose and is going to take control.)


DEMON OF THE FALL

Flaming dance with death
Everything is lost
Torn by the arrival of autumn
The blink of an eye
You know it's me
You keep the dagger close at hand

(The ghost arrives at the chapel, burning with hatred. The widow senses that there is a supernatural presence, and wields a dagger in defense.)

And you saw nothing
False love turned to pure hate
The wind cried a lamentation
Before merging with the grey

Demon, demon of the fall

(In the darkened chapel, the girl listens to the howling wind and curses the ghost, believing him a demon as accords to her new-found faith.)

Gasping for another breath, she rose, screaming at closed doors
Seductive faint mist forging through the cracks in the wall
I shan’t resist, in tears for all of eternity
She turned around and faced me for the first time

Run away, run away, run away.

(Sensing his presence once more, she leaps to her feet and shrieks as his misty form appears through the wall behind her. He reaches out to her and she turns, seeing him clearly. Despite realizing his identity, she flees in terror.)

Just one second, and I was left with nothing
Her fragrance still pulsating through damn air
That day came to an end
And she had lost, in me, her credence

(Heartbroken and utterly dejected, the ghost realizes that she no longer mourns but fears him.)


CREDENCE

Deserted again
You speak to me through the shadows
Walking in closed rooms
Using cold words
Captured by the night
The yearning escapes from my embrace

(The plan of the ghost has apparently failed; his widow is refusing to join him in death, and is rather coldly demanding that he leave her in peace.)

Strange silhouettes
Whisper your thoughts
Scream your sadness
And they all turned away
Unable to face
More of this death

(The ghost is shocked by her wild, frightened mood. He eventually understands that she is unable to accept her own inevitable death, hence her turn to religion.)

Credence in my word
Written in dust
Tainted by memories
I confess my hope
Recognize
My loneliness

(Disappointed, he speaks to his widow of his dream that they would be re-united for eternity. He accepts that this is as much because of his love for her as it is because of his desperate loneliness.)

Your laughter weeps the truth
Push me into the corner
Confirming the epitaph of my soul
And displaying
The once unknown
Karma

(Mad with fright, the girl laughs at his hopes, belittling him and confirming that their love has finally died.)


KARMA

And as they say, grief is only able to possess
The rotting body clad in ancient clothes
Is left behind with a wave of the hand

(Accepting his eternal fate, the ghost has left his grave for the last time and drifted out into the natural world.)

I have gone away
The bed is cold and empty
Trees bend their boughs toward the earth
And night-time birds float as black faces

(He can no longer be found in the home he and his widow lived in, and neither can she, for she has left that place in fear for her life.)

It was the hand reaching out
Through the mirror
Unknown and scarred by life
The luring eyes, you had never seen

(The final sight that caused him to leave was the sight of his own spectre in his widow’s mirror – half-mad with longing, appearing as a stranger even in his own eyes.)

You have nothing more to find
You have nothing more to lose

(He realizes he has lost everything he had and that it can get no better and no worse.)

The cold season
Drifts over the land
They huddle in the brown corners
Some would settle for less

The castles were all empty, asleep
Long awaiting their king
Beckoning round the bend

Amidst the forest
One would hear that I had been there
Draped within a fate I could not change
And always welcoming winter's epilogue

(Now it is winter the people of the land huddle together for warmth, telling stories of fantastic and strange events. The ghost has found his way into these myths and legends as a tragic story to be told for generations to come.)


EPILOGUE

There it was, the final destiny
A sunrise that never came, still the night lamp that never faded away
Farewell was the word, and the afterglow was the brave morning
Rising and telling everyone about the beauty of its prologue

(The ghost’s destiny is to remain in the woods forever. He accepts this, bidding his widow a silent farewell and disappearing into the bright morning, alone, but finally free of his emotional burden.)


There we go. Only Mike himself could convince me otherwise...
 
for some reason "Still Life" always reminded me of a book i read a couple of years ago, by Robin Hobb.

Assassin's Apprentice (The Farseer Trilogy b1)
Royal Assassin (The Farseer Trilogy b2)
Assassins Quest (The Farseer Trilogy b3)



very good read by the way.
[ame]http://www.amazon.com/Assassins-Apprentice-Farseer-Trilogy-Book/dp/055357339X/ref=pd_sim_b_img_1[/ame]

:worship:
 
Awesome!!!!
This is a bloody brilliant record.. my second favourite to Blackwater Park... and I didnt know any of this so.. thanks so much :D
 
I think MAYH and Still Life are the masterpieces of Opeth just because of the beautiful composition that flows throughout the album.As you listen you are dragged into the story,the lyrics and musics are combined in such a way that you feel like your witnessing the story.Especially MAYH is awesome because of this,when the screams of the ghost in anguish starts in Karma and ends and then the Epilogue starts,finishing the story with beautiful melodies,thats why I got its lyrics in my signature I just love the whole thing.
 
I've never been a huge MAYH fan...but this thread has really rekindled my interest in the album. I think it's time to give it a few more spins...
 
Still Life's story > MAYH's story
MAYH's music > Still Life's music

I disagree.

Still Life's story > MAYH's story
MAYH's music < Still Life's music

I don't find the story of MAYH to be particularly creative, whereas I find Still Life to be more emotional and easier to relate to. Perhaps it's because Still Life's story takes place in one dimension or realm, whereas MAYH has the whole ghost element. Ghosts are pretty awesome, but I doubt most individuals can "relate" to them. Still Life is a love story with some cult and revenge elements mixed in, which makes it, in my opinion, easier for most people to connect with. The dude is all about that Melinda chick, but their love is forbidden due to social barriers. The religious zealots kill her and he goes berserk to avenge her death but gets killed doing so. Did he anticipate dying? Is he glad he's dead, because now he can join Melinda? I seriously don't know, I'm asking... I forget what happens after he dies in White Cluster.

If I have to break apart the music from MAYH, I will. Of course, this is all my opinion. Musically, Still Life has very few weak moments; it's solid from start to finish. I find MAYH to be, however, a "wall-of-sound" when it comes to songwriting and riffs; the production in particular suffers. Still Life's music is tight and dynamic, whereas MAYH has very few musical breaks; the distorted parts sound like an elephant being raped by a T-Rex. With that said, there are a few parts of the album I like that are absent of elephants being violated sexually:

Prologue - Blah.

April Ethereal - The riff towards the end where one guitar chugs in staccato and the other plays a creepy octave chord droning-type thing.

When - Honestly, it's been a while since I've listened to this one, so I'll have to post on it later.

Madrigal - Nice interlude.

The Amen Corner - The entire intro is great, with all of its killer riffs. There's some "wall-of-sound" filler, but most of it is good. I love the creepy "eerie circles above the waters" part near the end.

Demon of the Fall - As much as I think this song is overrated, I do believe it is one of the strongest (if not the strongest) on the album. The reason for this is because it has lots of dynamics, which songs like April Ethereal and Amen Corner seem to lack.

Credence - Pretty little song, but I do think it drags on for too long without changing. The outro is great, though.

Karma - The first few minutes are kinda blah, but it gets way better. The clean part in the middle and everything after I enjoy greatly. That chugging riff at the end with the killer growl is an epic climax to the concept. I really hope the band decides to play this live eventually.

Epilogue - Instrumental and tasteful.
 
The reason for no musical breaks to MAYH, is because Mikael's original intent was to make one 40+minute song. In an interview way back when this album came out, he jokes about Dan Swano doing it just before him, with the Crimson album/song. Which is when Mikael discussed this with him, and of course you know Mikael played and sang on Crimson.