Review Summary: Structured with intent.
"Metamorphosis One." It begins sourly, but as it nears the end there are waves of sweetness. This composition leaves the listener to question his perspective. You are again at crossroads which you thought were long gone. From the middle, the oscillations can be felt. Descend into the great pit, or to pierce through the overcast into the heavens? Sour, then sweet. Sour, then sweet. The acid graces the tongue to remind us all of the end of our bodies. If the symbol of the album is to be taken as a human being, I can envision him seated upon a log in the melancholy wood, raising his head periodically to the sky, then back to the ground.
Beauty is uncomfortably felt. It consists in the tearing of the womb, the mangled sheep, the destruction of star systems. They are not beautiful because of their bodies, but for their place in the grand narrative. The narrative must have a medium, which is matter. It is obvious that this composition is filled with purpose and intent, since each song follows a design similar to each of it's siblings. First of all, there is at most times an oscillation between lower and higher notes proceeding at a rapid rate. It is true that these alternating notes implies a middle, but this middle should not be regarded as a point but rather a straight line. Once time is considered, the vacillating notes seem to inch themselves towards a common goal. The history of the oscillations reveals a melody.
The visions are of a wave nature. An image of the ocean is clear. The waters are stark. There is a moment during the song "Mad Rush" when the dual oscillation is broken, but the wavy texture is unscathed, revealing some form of interference. Frankly, a boat agitating the waters comes to mind. Alternatively, a shark, whale, goldfish, or any other solid body interfering with the footprints of the wind upon the water would suffice. So this song must tell the story of any chosen interference withing the context of what it interferes.
The next song, "Wichita Vortex Sutra", is a relief, since it disposes of the heaviness of the songs before it and adopts a light-hearted sound. It represents the daily, repetitive and familiar tasks of each day. It is familiar and warm.
"The Hours" adopts new forms of transportation such as running, jumping, and flying.
By the song, "Modern Love Waltz", the composition is at its most differentiated.
This composition is a skewed hologram.
