From the Cave is an alternative indie rock band based in London, UK, and on 31 October they appropriately released a stunning new single “Halloween,” along with an equally stunning video. I’m only getting around to featuring it now, as I just discovered it a few days ago. I was instantly blown away by both song and video, which is quite honestly one of the most interesting and visually captivating videos I’ve seen in a long while.
The five-member band consists of Kristian Møller-Munar on vocals and guitar, Mikaela Lindgren on vocals, keys and percussion, Josh Scriven on guitar and vocals, Johan Crondahl on bass, and Anton Vysotsky on drums. They released their self-titled debut EP From the Cave in 2016, and in 2017 have followed up with a series of singles, the fourth of which is “Halloween.” They plan to released a full album in early 2018.
“Halloween” starts off with quiet, mysterious synths and plucky guitar, followed by gentle percussion and a soft chorus, then Mikaela’s lovely vocals enter the proceedings. The music swells with added synths and layered jangly guitars, and Kristian’s vocals join in, harmonizing beautifully with Mikaela’s. The guitars, bass and drums become more intense as the song progresses, making for a dramatically sweeping song that raises goosebumps.
I may be off-base, but my take on the song’s meaning is that it’s about a relationship where the partners are hiding behind a mask of sorts, unable to be open or honest with each other – hence the title “Halloween.”
I try to see you from the outside But you were hiding in my mind I’m walking over to a brighter light The door is closed I hear a voice Do we ever have a choice? Halloween Halloween
The gorgeous and intensely colorful animated video, which was created by Kristian, shows a vehicle traveling across an ever-changing fantasyland of earth, water and sky. It’s like a psychedelic trip through the Land of Oz with Harry Potter and his friends. I love it!
As I’ve mentioned before on this blog, one of the things I love about Twitter is that every single day I learn about at least a couple of new artists or bands I wasn’t previously aware of. And it’s an added treat when some of them turn out to be really good musicians, as well as nice people. So it was when I got acquainted with the talented young German singer/songwriter and multi-instrumentalist Lowry Lane, who released his debut single “Find a Way” in late September.
Born Paul Friebe, Lowry named his musical project after English painter L. S. Lowry. He’s been writing poetry and music for more than a decade, and states in his bio that he “was inspired by the naive and bold simplicity of Andy Warhol and the sobering and disillusioning insights of Hunter S. Thompson.” He goes on to describe Lowry Lane as “the vehicle for his musical self discovery, which aims to recklessly unfold the inherent conflicts he finds within himself and in the world around him.”
The first thing that comes to mind when listening to “Find a Way” is how much it reminds me of Nirvana. The melodically complex track shifts back and forth from quiet to loud, with grungy guitar riffs over a strong bassline and aggressive percussion. Further, Lowry’s gritty vocals sound strikingly similar to Kurt Cobain. He laments the gloomy lyrics about feeling numb and hopeless about his life:
I haven’t found a way to find a way to live I haven’t found a way to finally forgive I can’t feel it anyway Maybe I was never meant to be OK
He lays down some scorching hot riffs in the bridge, and I love when at 3:45 he suddenly pauses and shouts “Holiday on the pavement! Fell in love with a vagrant!” as if he’s in a brief manic state of mind. It’s a great song, and Lowry exhibits a dark charismatic quality as he performs the song in the video. And that awesome hair!
Lowry is currently writing and recording more songs and plans to release his first album in Spring 2018, and I can’t wait to hear it!
I love musicians with a sense of humor, especially when they also make terrific music. Toronto, Canada-based foursome KNIFEY fills the bill quite nicely. Describing themselves on their Twitter page as ‘drinking and drunk at all the wrong places,’ they play high energy lo-fi surf rock with a healthy dose of punk. Bringing all this joyful noise to our eardrums are Max Trinz (vocals, guitar), Ammar Karam (drums), Kyle Marcovecchio (bass) and Phil Linton (guitar).
Photos by Mike Mangov
At the end of September, the guys dropped their debut album beached, a collection of eight exuberant tracks that will have you leaping about with abandon while wistfully remembering that summer romance and days spent on the beach. In their press info, KNIFEY explains that beached “is a window into the seemingly endless juggling of relationships and responsibility that is big city living. The songs were meant to be straightforward and honest, and the work’s essence is fun and upbeat. Lyrically, the songs cope with the trials of growing up, the coming and going of relationships, and express a weariness with the city’s hedonistic bar culture. Pervading both the sound and lyrics is a nostalgia for summertime and for the beach, and a reckless optimism that that simpler life might be just around the corner.”
It’s a short album, clocking in at a mere 21 minutes, but it packs a hell of a punch. Opening track “Beached Lightning” arrives with a burst of explosive percussion and a frenzy of gritty guitars. It’s a rousing head banger tailor made for a psycho beach party, and I loved it at first listen. The high energy level is sustained throughout the entire album, with no let up in the frantic riffs and galloping percussion. “Rio” serves up jangly surf guitars hovering over a bouncy bass line.
Next up is the hard-driving punk gem “Sophie,” the first single released in advance of the album. Max fervently sings to the imaginary Sophie, telling her he misses her and pleading for her to get back together with him:
I want to run to California, I need some energy in my life I want to feel the beach beat, hear the drums pounding in the night I’m never gonna make it there when you’re screaming in my ear I’m falling to pieces baby, help me out here
The delightful video produced for the song features lots of pet reptiles at play, including lizards, iguanas, geckos, snakes and turtles, along with a few bewildered cats, dogs and burros.
“Serf” is a play on words, describing both the roiling surf guitar riffs and the singer’s desire to serve his girl. Punk rock grooves are abundant on “Weekend” and “Tanlines,” both of which feature some amazing rapid-fire riffage. “Summer Girl” is a great track about a summer love affair. The song starts off boisterous, but ends at a languid pace as Max sings about how good he feels when he’s with his girl.
“Long Lost Dreams” is the most poignant track on the album, with more of a rock vibe, thanks to an abundance of shredded and plucky guitars and heavier bass. The bittersweet lyrics speak to the sad realization that your dream relationship has ended:
You were fuckin’ living, I was out with the boys Now I’m stumbling home to you with glazed-over eyes Call me young and stupid, we all know it’s a lie Are you done with your toy, are you done with your toy? These are long lost dreams on a Saturday night They’re all gone, they’re all gone…
The song symbolizes a return to the cold realities of life, and is a fitting close to the album’s theme.
Brad Schecter is a creative and talented singer/songwriter and multi-instrumentalist based in Los Angeles. With a life-long passion for music and performance, he began studying classical piano at age 6, started writing songs at 15, and went on to earn a B.A. in Theatre. In addition to being a rock tenor, he’s played piano and drums for over 25 years, both as a solo artist and with a number of bands, including Scarred and Blue Embrace, and more recently, a new project Face of Stone with guitarist Marc Palmer.
In October 2015, Brad released his debut album Live Your Dreams, a collection of songs that chronicle his life beginning with the death of his father when he was 16, his ongoing struggle with anxiety and depression and, most of all, never giving up. Drawing inspiration from some of his favorite artists and bands like Sixx:A.M., Pink Floyd, Muse, Iron Maiden and RUSH, he fuses powerful, heartfelt lyrics with hard rock and metal to create a sound that can best be described as progressive hard rock with a significant piano presence. Based on influences from those legendary bands known for their magnificent musical output, Brad’s music is as impressive and compelling as I’d imagined it would be.
For the album, Brad wrote all the music and lyrics, including the guitar solos, and played piano, drums, keyboards/synths, and auxiliary percussion, and sang all vocals. Other musicians providing backup instrumentals included Greg Karas on guitars, Drew Allsbrook on bass, and Daniel Balistocky on additional rhythm guitar and bass.
The album opens with the hauntingly beautiful piano instrumental “Bbc,” which really showcases Brad’s skills as a pianist. The track abruptly segues into the high-energy rocker “Blind Eye,” a powerful song about refusing to let someone continue to hurt you. Rapid-fire riffs and hammering drums propel the song forward, while Brad emotionally sings “Why can’t you see what you’ve done to me? I don’t want to live this way again.” An assertive piano later enters the scene as Brad defiantly sings “No more blind eye. I can see now.”
A standout track is “Another Day,” a hard rock anthem with terrific instrumentals, including some stellar guitar work and piano. The hopeful lyrics speak to not letting life’s problems defeat you:
Maybe it’s not too late, in my hands is my own fate So much left to do, not too late to start anew I know I still have time, but it could never be enough Explain to me the reason why, explain to me the reason why The moon still rises, the sun still sets Will my spirit carry on yet? What if time stood still so we could live on And I would not have to wait So please let me see another day
“Spring” opens with sounds of children playing outdoors, then suddenly interrupted by a thundershower. A lovely piano movement takes over, and Brad sings bittersweet lyrics that hearken back to his childhood and his father’s death. The music ramps up with added electric guitars, heavier bass and more aggressive piano as he fervently pleads “Father don’t speak, this is easier. Father don’t cry, I will be fine.” The music slows back down, only to ramp back up at the outro. It’s an epic song.
Brad delivers another amazing track with “So Long Sonata,” an emotion-charged song about telling someone that your relationship is irreparably broken. The track features beautiful, dramatic piano, great guitars and percussion. The sublime piano instrumental composition “Reminiscence” follows, providing a nice interlude and transition to the monumental track “Just in Case.” The grandiose orchestration, featuring an arresting interplay between piano and guitar, result in a gorgeous rock song of immense power, befitting of the subject of mental illness.
Next up is “True Selfie” an exuberant rock anthem about staying true to yourself, not being who you think you should be. Closing out the album is the title track “Live Your Dreams.” As always, the song is chock-full of Brad’s beautiful piano playing, accompanied by awesome guitar work and commanding percussion. The inspiring lyrics speak for themselves:
I know it’s easier to fantasize than to really do the task Spend too much time pondering what if Not enough time seeing what could be No point in trying to relive the past You must move forward never back Now there’s an obstacle before you Only one who stands in your way is you
Live Your Dreams is a solid testament to Brad’s expansive songwriting and musicianship, and I’m glad he reached out to me with his wonderful album. I realize the music industry is a tough, highly-competitive business, and that success can seem elusive for many musicians. I sincerely hope he continues writing and recording music, whether it be as a solo artist or in collaboration with other artists as he is now doing with Marc Palmer.
1. LOVING YOU IS SO EASY – Wide Eyed Boy (2)
2. HIGHWAY TUNE – Greta Van Fleet (1)
3. SO TIED UP – Cold War Kids, Bishop Briggs (3)
4. SIT NEXT TO ME – Foster the People (4)
5. WITHOUT YOU – Disciples of Babylon (6)
6. THE SKY IS A NEIGHBORHOOD – Foo Fighters (5)
7. WALK ON WATER – 30 Seconds to Mars (7)
8. ONE FOOT – WALK THE MOON (8)
9. I LOVE YOU BUT I’M LOST – Tears For Fears (9)
10. KINKY – Oli Barton & the Movement (11)
11. NO ROOTS – Alice Merton (13)
12. THUNDER – Imagine Dragons (14)
13. LAY ME DOWN – Candid (15)
14. DEVIL IN THE DETAILS – VERIS (16)
15. RX(MEDICATE) – Theory of a Deadman (17)
16. HOLDING ON – The War on Drugs (10) 20th week on list
17. SUIT AND JACKET – Judah & the Lion (12)
18. UP ALL NIGHT – Beck (20)
19. I ONLY LIE WHEN I LOVE YOU – Royal Blood (N)
20. ANGELA – The Lumineers (N)
Phoenix, Arizona-based heavy metal band MURKOCET is bound and determined to slam you against the wall with their relentlessly intense music. They state they’re named after a substance directly attributed to the aggressive and often times violent actions of it’s user. Listening to their music, I’m certainly not gonna argue with that! Following up on their self-released face-melting debut album Digging Mercy’s Grave, released this past January 2017, they’ve just released a blistering new single “Hustlin’ Hate.”
MURKOCET consists of Richie Jano on vocals, Nate Garrett on guitar, Mike Mays on drums, and newcomer Jared Pettit on bass. Their hard-hitting yet melodic music is heavily influenced by some of their favorite hardcore and death metal bands such as Lamb of God, Slipknot and Hatebreed. They combine those influences with a strong emphasis on engagement with fans though their incredibly dynamic, high energy performances.
“Hustlin’ Hate” starts off with a wailing guitar riff, accompanied by a rib-crunching bass riff and pounding drum, then explodes into an unrelenting four minute long assault of jackhammer bass, pummeling drums and blazing guitars. The interplay between guitar and bass is so good it brings goosebumps. Jano unleashes all the brutal fury he can muster with his raw, guttural vocals, raising those goosebumps to the breaking point. It’s a phenomenally powerful track, and a thing of beauty for those who love death metal.
Catch Murkocet at one of these upcoming concerts:
Nov. 25 – Silver Spur Saloon, Denver, CO
Nov. 26 – Rio Rancho, NM
Nov. 27 – Green Room, Flagstaff, AZ
Nov. 29 – The Merrow, San Diego, CA
Nov. 30 – Bricks Restaurant & Sports Bar, Maywood, CA
Dec. 1 – Dive Bar, Las Vegas, NM
Dec. 8 – Marquee Theatre, Tempe, AZ
Dec. 22 – Acadia Bar & Grill, Houston, TX
Antipole is a coldwave/post-punk project from Trondheim, Norway, and the second act from Norway that I’ve featured on this blog (the first being Sherpa, who I featured in July 2016). They just dropped their first full length album Northern Flux. Released through Unknown Pleasures Records, the ambitious new album contains 14 tracks, including five remastered songs originally featured on their previous EP Getting Frequent Now.
Essentially a solo project of songwriter/guitarist Karl Morten Dahl, Antipole was formed in early 2014, after Karl met Anne-Christel. He had previously written songs and been in other bands, but was inspired by Anne-Christel to write and record more music on his own in an early 80s new wave and post-punk style. In 2014, Antipole released a debut digital-only EP Panoply. Songs for AC, that featured eight instrumental tracks. This was followed with a second EP Getting Frequent Now in early 2017.
The songs on Northern Flux were written by Karl in collaboration with Paris Alexander and Eirene, both of whom are from Brighton, UK, and also provided ethereal vocals for all the tracks. The album was recorded at Lysverkvegen in Trondheim, Norway, and Blue Door Studio in Brighton,UK, and produced, mixed and mastered by Paris.
In an interview with Jeff Haight of the web magazine Overblown (which you can read here), Karl describes Antipole and some of the influences on their sound:
“I’m trying to create addictive, melancholic coldwave/post-punk. When I started Antipole in early 2014 the idea was to write melodies and record them in a way that they sounded like a post-punk band recording from 1982. I started recording songs again after I met Anne-Christel. She’s heavily into obscure post-punk old and new, and listening to that inspired me a lot. Obvious influences were and are New Order, Joy Division and The Cure. Not as obvious influences would be The Chameleons, The Sound and also newer bands like The KBV, Motorama and Mode Moderne. Whether the influences can be heard or not I’m not the one to decide. “Disintegration” by The Cure has been kind of a gold template to me. Very sad and emotional music, yet so beautiful. The songs have gotten more electronic after I started collaborating with Paris Alexander. He has also contributed a lot to song ideas/arrangements/writing and of course vocals plus writing his lyrics. Lately Eirene has also contributed a lot.”
Beginning with album opener “October Novel,” the strong influences of Joy Division and The Cure can clearly be heard in Antipole’s mesmerizing sound. Hypnotic dance beats, jangly guitar-driven melodies and dreamy synth chords are the distinctive elements of their music. Paris’ and Eirene’s distant, almost chant-like vocals are strangely seductive, lending an otherworldly feel to most tracks. Each track flows effortlessly into the next, allowing the listener to become swept away by the spellbinding rhythmic beats.
A standout track is “Shadow Lover,” with it’s powerful, throbbing bass line and intricate, jangly guitar work. With a hint of menace in his breathy vocals, Paris sings “You see through me. And I want you. I still want you. Yes I want you.”
Another of my favorites is the captivating 8 1/2 minute-long “Narcissus.” A pulsating beat drives the track forward as mysterious synths and a constant jangly guitar riff play off each other, gradually building in intensity as the song progresses. Paris hauntingly chants “I see you.”
Track listing:
1. October Novel
2. Shadow Lover
3. Dans l’entrée
4. Summer Never Ends
5. Reflected in You
6. Magnolia Skies
7. All Alone
8. Le Châtelet
9. Someday 45
10. Narcissus
11. Distant Fall
12. Closer
13. Please Let Me Sleep
14. Insight (Joy Division Cover)
Unusual. Exotic. Captivating. Haunting. Stunning. Those are all words that come to mind when I listen to the album Low Tide by Morosity, a genre-bending band from Minneapolis, Minnesota. Formed in 2001 by childhood friends Jesse Albrecht (Lead Vocalist/Guitarist) and Dave Rowan (Guitarist) as a two-man acoustic group, they spent their early years developing a sound uniquely their own, and playing local gigs and opening for national bands. Wanting to expand their sound and musical reach, they added bassist Sean Bachinski in 2007, and two years later, Jason Wolfe (Violin, Guitar, Mandolin) and Nick Johnson (Drums) joined the band to complete their lineup.
Morosity released an ambitious debut album Misanthrope in 2011 to wide acclaim, and nearly six years later, in February 2017, they released their second album Low Tide, which I’m finally getting around to reviewing. While retaining many elements of their signature sound – complex song structures and melodies, richly layered guitars, crisp percussion, and generous use of the violin – with Low Tide the band takes a more eclectic and decidedly darker approach. Melding rock with tribal, psychedelia, folk and Middle Eastern influenced music through use of the mandolin and hammered dulcimer, they’ve created a powerful work of extraordinary beauty and depth. The album was produced by Albrecht, who records, mixes, and masters in his home studio Evensong Studios.
The album starts off with “Mind Over Matter,” a brief but mesmerizing track dominated by a gorgeous dulcimer riff. The song elicits several images and feelings for me, but I mostly think of a beautiful belly dancer moving to the captivating Middle Eastern music. The song immediately transitions to the mysterious “The Answer.” One of my favorite tracks on the album, the song features haunting guitar work that’s so incredible it gives me goosebumps. Furthermore, Albrecht’s vocals are amazing; he seductively croons the lyrics about questioning one’s belief system: “My eyes tell me that the truth’s not being told. What if all I see is just a lie?” He finally concludes that it’s all a sham as he wails “You’re all wrong” to a hard-driving guitar riff at the song’s end.
Without skipping a beat, we segue to “Ouroboros,” another mesmerizing (there’s that word again, but it’s just so fitting) track with a Middle Eastern vibe. The instrumentals on this track are rich and varied, and Albrecht’s smoky vocals have a chant-like quality. “Moon” has more of a traditional folk-rock sound, with some tasty layered guitars floating over Bachinski’s solid bass line.
The album plays like a rock symphony, with each track a string of movements, one flowing into the next. “Moon” transitions directly into “Smoke & Mirrors,” a powerful five-and-a-half minute long tour-de-force of a track about self deception. The guitar work is outstanding, and Albrecht’s raw vocals, which remind me a bit of the late Chris Cornell on this track, perfectly convey the biting lyrics:
Is all your smiling make-believe? Who is it that you are trying to deceive? What is it that you plan to gain? A life of misery, false heightened sense of fame. It all goes away…
The most powerful, and dark, track on the album is “Death Grip,” which speaks to the epidemic of gun violence that’s become so pervasive in America today. The folk-rock song is chilling, yet has an interlude containing whistling that comes off as almost carefree, in sharp contrast to the subject matter. A similar treatment was used by Foster the People on their hit “Pumped Up Kicks.” The disturbing lyrics are from the twisted perspective of a mass shooter:
Lately I just wanna kill someone You can hide away the ammo Lock up all the guns But if I really wanna have some fun There ain’t nothing gonna stop me til’ the job is done I wanna kill someone In a crowded theater In the church of nuns In a school for children In front of everyone You think that you can stop me You say you’re good with guns If you try to kill me I’m gonna blow up everyone
The video shows serene images of the countryside and a cemetery, interspersed with a shadowy figure walking, driving, and at a shooting range. At the end, people are shown having fun riding bikes, bowling, and at a demolition derby, presumably oblivious to any potential danger.
“Limbo” features Wolfe’s sublime mandolin work, accompanied by lovely violin and subtle guitars. Albrecht’s urgent vocals are marvelous, as are the backing chorus. The violin and acoustic guitar take center stage on the melancholy title track “Low Tide.” The gloomy lyrics speak to feelings of being worn down, and that life is slipping away, but you’re not yet ready to give up:
From stone to sand, I feel it all sifting through my hands. Worn to bone, nothing left just a skeleton. Bottoms up and cut me down to size. Drag me out and wash me in the tide. Give me life now no I don’t wanna die. Low tide
But by song’s end, the feelings of hopelessness, regret and despair have become too great to bear, thus death would be a welcome relief:
Can not maintain the pain the rain is welling in your eyes. Pleasure came back down the drain swallowing the light. Playing blame insane it’s you that’s done this to your life. Missing sane tired and drained thoughts of the other side. Pick me up and bathe me in the light. Drive it down and bleed me dry. Take my life I’m ready to die. Washed away in the low tide.
The band keeps with an oceanic theme on the funereal album closer “Adrift.” The languid track is moody, yet peaceful, with the sound of waves drifting in and out as a somber guitar plays. Like the music, Albrecht’s low, echoed vocals are dirge-like, yet somehow comforting. The music and vocals end at 3:30, and we’re left with sounds of the surf for another 20 seconds, followed by birds singing in a gentle breeze, as if to signify the gradual and peaceful passing away of a life. Morbid, but beautiful at the same time, which fairly well sums up the album.
Morosity is currently working on a third album, and I eagerly look forward to hearing more songs from these exceptionally talented and creative musicians.
1. HIGHWAY TUNE – Greta Van Fleet (1)
2. LOVING YOU IS SO EASY – Wide Eyed Boy (2)
3. SO TIED UP – Cold War Kids, Bishop Briggs (3)
4. SIT NEXT TO ME – Foster the People (4)
5. THE SKY IS A NEIGHBORHOOD – Foo Fighters (5)
6. WITHOUT YOU – Disciples of Babylon (7)
7. WALK ON WATER – 30 Seconds From Mars (6)
8. ONE FOOT – WALK THE MOON (10)
9. I LOVE YOU BUT I’M LOST – Tears For Fears (11)
10. HOLDING ON – The War on Drugs (9)
11. KINKY – Oli Barton & the Movement (12)
12. SUIT AND JACKET – Judah & the Lion (8)
13. NO ROOTS – Alice Merton (14)
14. THUNDER – Imagine Dragons (15)
15. LAY ME DOWN – Candid (18)
16. DEVIL IN THE DETAILS – VERIS (19)
17. RX(MEDICATE) – Theory of a Deadman (N)
18. LITTLE ONE – Highly Suspect (13)
19. UNFORGETTABLE – French Montana, Swae Lee (16)
20. UP ALL NIGHT – Beck (20)
One of the great things about being a music blogger is getting to know other music bloggers, who frequently turn you on to new artists and bands that they write about. So, it was my lucky day this past June when I happened to read a post on my friend Zezrie’s blog Jealous Sounds about a Nashville rock band called Rusty Shipp and their monumental tour de force of an album Mortal Ghost. I was so impressed with them I became an instant fan and reblogged her review. The band has just released a new single “Treading Water” from Mortal Ghost, along with a brilliant animated video.
Rusty Shipp calls itself a “Nautical Rock’n’Roll” band, with a sound influenced by the melodic chord progressions of The Beatles, the surf guitar of Dick Dale, the grunge rock of Nirvana, and the heavy metal of Led Zeppelin, among others. Their music is characterized by a dark, underwater sound, haunting vocals, and unconventional heavy riffs. The band has undergone several personnel changes since forming in 2014, and now consists of singer/songwriter and front man Russ T. Shipp (literally his birth name) on guitar and vocals, Elijah Apperson on lead guitar, Michael Craft on bass, and AJ Newton on drums. (Jake Adams was bassist on the recording of Mortal Ghost.)
Like many of the songs on Mortal Ghost, “Treading Water” is an exhilarating and powerful hard rock track. Rusty Shipp employs frantic riffs of gritty shredded guitars, fortified with heavy buzzing bass and hammering drums, to create a song that’s hard-hitting yet beautiful. The wonderful guitar change-ups that occur throughout the track demand, and hold, our attention, making for an impressive, melodically complex song. Shipp’s impassioned vocals are enthralling as he sings the nautically-themed lyrics that address feelings of hopelessness about life and one’s place in this world:
I’m alone in this world, drifting like a lost ship at sea The more I live the less I feel at home Treading water just to keep from drowning All creation ’round me groans, till the sea and all that’s in it is undone Something’s nipping at my toes. Treading water till the angels come Give me that ancient feeling, the kind of love that David felt, shining through the jaws of holy war I want to go behind the curtain, to where the golden cherubs dwell, find something worth us fighting for Something in these endless waves feels dead, cold and lonely as the stars It’s sad that some believe this liquid pendulum could put together someone’s heart If I find in myself a desire nothing in this world can fill, The only explanation left is I was made for another world
The imagery depicted in the fascinating and visually captivating video symbolizes the feelings of alienation and hopelessness caused by a cold and increasingly technological world.
ECLECTIC MUSIC LOVER 