[size=-1]September . 6 . 2005 - 'New album details revealed'[/size]
[font=Arial, Helvetica, sans-serif][size=-1]As previously promised, we stated we'd reveal our new album title and track titles and today we plan to do just that. Below you will also find detailed song descriptions to help tide you over.[/size][/font]
[font=Arial, Helvetica, sans-serif][size=-1]DAYLIGHT DIES - 'DISMANTLING DEVOTION'[/size][/font]
[font=Arial, Helvetica, sans-serif][size=-1](song list in no particular order) [/size][/font]
[font=Arial, Helvetica, sans-serif][size=-1]A LIFE LESS LIVED
STRIVE TO SEE
ALL WE HAD
SOLITARY REFINEMENT
LIES THAT BIND
A DREAM RESIGNED
DEAD AIR
DISMANTLING DEVOTION [/size][/font]
[font=Arial, Helvetica, sans-serif][size=-1]"Dismantling Devotion" will run just under an hour in length. Also of note is Jeff Brubaker will be taking the photographs for the layout as well as Agni Kaster continuing work on the post-photo process. We look forward to an excellent layout to accompany these songs we've worked so hard on. More studio photos will be provided in the near future.[/size][/font]
[font=Arial, Helvetica, sans-serif][size=-1]DAYLIGHT DIES - 'DISMANTLING DEVOTION'[/size][/font]
[font=Arial, Helvetica, sans-serif][size=-1](song list in no particular order) [/size][/font]
[font=Arial, Helvetica, sans-serif][size=-1]A LIFE LESS LIVED
STRIVE TO SEE
ALL WE HAD
SOLITARY REFINEMENT
LIES THAT BIND
A DREAM RESIGNED
DEAD AIR
DISMANTLING DEVOTION [/size][/font]
[font=Arial, Helvetica, sans-serif][size=-1]"Dismantling Devotion" will run just under an hour in length. Also of note is Jeff Brubaker will be taking the photographs for the layout as well as Agni Kaster continuing work on the post-photo process. We look forward to an excellent layout to accompany these songs we've worked so hard on. More studio photos will be provided in the near future.[/size][/font]
[font=Arial, Helvetica, sans-serif][size=-1]Detailed descriptions of songs from "Dismantling Devotion": [/size][/font]
[size=-1]A LIFE LESS LIVED
A beautifully dark acoustic intro which foreshadows the songs melodic theme, along with feedback swells whaling off and on in the background starts this one off. Distorted guitars, drums and bass come crushing at a slow yet methodical pace. Shortly thereafter the song picks up steam and heads into the verse. The rest of this eight minute plus track continues with this bipolar trend, including a mid-section breakdown with an interesting rhythm section and a touch of clean vocals which we've been excited about since writing this one. The song ends with a solid wall of rhythms and layers of delayed leads. A song we're all excited to play live.
STRIVE TO SEE
Without a doubt the most difficult song to birth. We thew away at least three songs worth of material before finally being totally satisfied with the result. While we always discard huge amounts of ideas, only about one or two ideas remained from the original version of this song. The song begins in an aggressive sea of unrest with abrupt and unpredictable rhythmic changes certain to catch you off guard. Soon the song melts into a mid-tempo flow which continues for most of the song. The chorus is one of the elements which remained from the beginning, one which begins as rhythm based then gives way to a melodic catharsis. The song ends with unpredictable dark leads racing along in an up-tempo fashion until ending suddenly and dramatically. A shorter track than most of the others, but a decidedly potent one.
ALL WE HAD
All we Had was the first song written after the No Reply album. Since it's a year or two old, we've had several chances play it live. People seem to always comment on the "funeral doom" type beginning, which consists of a considerably slow and crushing rhythm section and a sorrow laden lead guitar. None of this lasts too long, as we save dwelling on it for the very end of the song. Most of the track moves at a fairly brisk pace, except for the beautiful chorus which is lush in clean guitars and drawn out low end rhythm. Not to be forgotten is mid-section segment of 6/8 rhythm which builds with momentum and tension until being released in a rush of clean and distorted guitars and awash of rhythmic details. The song ends exactly as it began, except we hang on it a bit longer to unwind from all that came before.
SOLITARY REFINEMENT
Solitary Refinement is one of two "slow-motion" type songs which certainly stand out from the rest. Hovering just a tad over five minutes, this song sticks to a slow and methodical pace with the main melodic theme focusing on the interplay between two contemplative guitar leads. Before long you are left with only clean guitar drenched in reverb and feedback swells, soon to be met with a riff that definitely gives you the sense of slow motion -- a wall of bass guitar, thick rhythms and crys from multiple guitar swells slowly playing off each other. The beat reverses and you feel as if moving slowly backwards. Last but not least several sections contain ethereal and ghostly clean vocals.
LIES THAT BIND
We've had a demo for Lies that Bind available on our web site for quite some time. This was the second song we wrote for this album, just behind All we Had. Since it's a year or two old we've also had the ability to play it live and always have people commenting on it afterwards. Instead of describing this one, listen to the demo.
A DREAM RESIGNED
Without a doubt one of the heavier, aggressive and darker songs on the album. A Dream Resigned was the third song written and is another example of a song that has gone through dramatic changes. We've replaced huge segments of the song numerous times before arriving at what we think is a most emotionally powerful song. It starts with no bullshit, you're instantly confronted with syncopated rhythms and desperate and dark leads. The verse is dark and aggressive. The chorus slows slightly with drawn out minor leads before Barre flows into a haunting solo all of us have come to love. Surely another highlight of A Dream Resigned is a disturbing, haunting and most of all utterly dark and dramatic segment which occurs around the four and a half minute mark. Everything drops down to bass guitar, keys, delayed clean guitar and slight cymbal work. Dark and unpredictable guitar leads twist and turn while the rhythm section builds and builds finally exploding into double kick, minor leads and hellish vocals which build the tension to extreme levels. Tension is then gradually released in a solo section which flows into the same syncopated rhythms that began the song and before you know it -- it's over.
DEAD AIR
Dead Air was the last song we wrote for this album. Our intention from the beginning was to write a twisted song that was dirty, gritty and harsh. Dissonance abounds. Dead Air begins deceptively with clean guitar work which builds into aggressive and oddly timed rhythm hinting at what is to come. The verse is mid paced, methodical and unforgiving. The chorus slows things down and reeks of isolation -- clean guitar delayed as if bouncing off the barren walls of an empty room. Only a little over two minutes into the song and everything collapses into violent and aggressive rhythmic bursts while one of the faster solos of the album buzzes overhead eventually spilling back into the verse. The song ends with a wall of drums churning up a storm, with guitars drenched in haunting dissonance ending in a feeling of disrepair. All this in just five minutes and change.
DISMANTLING DEVOTION
The title track of the album is the second of the doomy slow-motion type songs, along with Solitary Refinement. It is also the only instrumental on the album. The song is an instrument of contemplation and reflection. It leans more towards the beautifully dark and dreamy side than the aggressive or disturbing side. Always kept at a slow pace, the song begins awash in keys, and floating guitar leads which build into a slow and deliberate rhythmic march. All abruptly end to be overtaken by melancholic acoustic guitar and building layers of leads which flow into a continuation of the forward march. Over top hovers repeating bittersweet leads, all which eventually fade away to a cello carrying the same melody, which eventually fades away itself. The dismantling is complete.[/size]
A beautifully dark acoustic intro which foreshadows the songs melodic theme, along with feedback swells whaling off and on in the background starts this one off. Distorted guitars, drums and bass come crushing at a slow yet methodical pace. Shortly thereafter the song picks up steam and heads into the verse. The rest of this eight minute plus track continues with this bipolar trend, including a mid-section breakdown with an interesting rhythm section and a touch of clean vocals which we've been excited about since writing this one. The song ends with a solid wall of rhythms and layers of delayed leads. A song we're all excited to play live.
STRIVE TO SEE
Without a doubt the most difficult song to birth. We thew away at least three songs worth of material before finally being totally satisfied with the result. While we always discard huge amounts of ideas, only about one or two ideas remained from the original version of this song. The song begins in an aggressive sea of unrest with abrupt and unpredictable rhythmic changes certain to catch you off guard. Soon the song melts into a mid-tempo flow which continues for most of the song. The chorus is one of the elements which remained from the beginning, one which begins as rhythm based then gives way to a melodic catharsis. The song ends with unpredictable dark leads racing along in an up-tempo fashion until ending suddenly and dramatically. A shorter track than most of the others, but a decidedly potent one.
ALL WE HAD
All we Had was the first song written after the No Reply album. Since it's a year or two old, we've had several chances play it live. People seem to always comment on the "funeral doom" type beginning, which consists of a considerably slow and crushing rhythm section and a sorrow laden lead guitar. None of this lasts too long, as we save dwelling on it for the very end of the song. Most of the track moves at a fairly brisk pace, except for the beautiful chorus which is lush in clean guitars and drawn out low end rhythm. Not to be forgotten is mid-section segment of 6/8 rhythm which builds with momentum and tension until being released in a rush of clean and distorted guitars and awash of rhythmic details. The song ends exactly as it began, except we hang on it a bit longer to unwind from all that came before.
SOLITARY REFINEMENT
Solitary Refinement is one of two "slow-motion" type songs which certainly stand out from the rest. Hovering just a tad over five minutes, this song sticks to a slow and methodical pace with the main melodic theme focusing on the interplay between two contemplative guitar leads. Before long you are left with only clean guitar drenched in reverb and feedback swells, soon to be met with a riff that definitely gives you the sense of slow motion -- a wall of bass guitar, thick rhythms and crys from multiple guitar swells slowly playing off each other. The beat reverses and you feel as if moving slowly backwards. Last but not least several sections contain ethereal and ghostly clean vocals.
LIES THAT BIND
We've had a demo for Lies that Bind available on our web site for quite some time. This was the second song we wrote for this album, just behind All we Had. Since it's a year or two old we've also had the ability to play it live and always have people commenting on it afterwards. Instead of describing this one, listen to the demo.
A DREAM RESIGNED
Without a doubt one of the heavier, aggressive and darker songs on the album. A Dream Resigned was the third song written and is another example of a song that has gone through dramatic changes. We've replaced huge segments of the song numerous times before arriving at what we think is a most emotionally powerful song. It starts with no bullshit, you're instantly confronted with syncopated rhythms and desperate and dark leads. The verse is dark and aggressive. The chorus slows slightly with drawn out minor leads before Barre flows into a haunting solo all of us have come to love. Surely another highlight of A Dream Resigned is a disturbing, haunting and most of all utterly dark and dramatic segment which occurs around the four and a half minute mark. Everything drops down to bass guitar, keys, delayed clean guitar and slight cymbal work. Dark and unpredictable guitar leads twist and turn while the rhythm section builds and builds finally exploding into double kick, minor leads and hellish vocals which build the tension to extreme levels. Tension is then gradually released in a solo section which flows into the same syncopated rhythms that began the song and before you know it -- it's over.
DEAD AIR
Dead Air was the last song we wrote for this album. Our intention from the beginning was to write a twisted song that was dirty, gritty and harsh. Dissonance abounds. Dead Air begins deceptively with clean guitar work which builds into aggressive and oddly timed rhythm hinting at what is to come. The verse is mid paced, methodical and unforgiving. The chorus slows things down and reeks of isolation -- clean guitar delayed as if bouncing off the barren walls of an empty room. Only a little over two minutes into the song and everything collapses into violent and aggressive rhythmic bursts while one of the faster solos of the album buzzes overhead eventually spilling back into the verse. The song ends with a wall of drums churning up a storm, with guitars drenched in haunting dissonance ending in a feeling of disrepair. All this in just five minutes and change.
DISMANTLING DEVOTION
The title track of the album is the second of the doomy slow-motion type songs, along with Solitary Refinement. It is also the only instrumental on the album. The song is an instrument of contemplation and reflection. It leans more towards the beautifully dark and dreamy side than the aggressive or disturbing side. Always kept at a slow pace, the song begins awash in keys, and floating guitar leads which build into a slow and deliberate rhythmic march. All abruptly end to be overtaken by melancholic acoustic guitar and building layers of leads which flow into a continuation of the forward march. Over top hovers repeating bittersweet leads, all which eventually fade away to a cello carrying the same melody, which eventually fades away itself. The dismantling is complete.[/size]
Great descriptions of each track btw. Beautiful pieces of descriptive writing.
