The latest “Song of the Day” comes from those metal gods who make up the power metal band, Blind Guardian. It’s a song which begins their latest full-length album, At The Edge of Time, and also a reworking of the song the band created for the console rpg title, Sacred 2: Fallen Angel. The song I’ve chosen this time around is “Sacred Worlds”.
The song was originally titled “Sacred” and was introduced in the game the band made it for during a quaint sequence where virtual, fantasy versions of the band do headbanging show in your typical fantasy inn populated by orcs, goblins, trolls and other find gentle creatures. While the original song was great on its own when the band reworked it with a brand new orchestral intro and outro the song took on a more epic sound.
It’s a pretty long song at a running time of 9:17 and is one of the better songs in Blind Guardian’s latest album. It’s also one of thew songs in my Skyrim playlist which I listen to nonstop while playing in Bethesda Softworks’ latest epic rpg title.
Sacred Worlds
The realm’s bleeding It suffers Old and weak
No further arguing There is war at hand The system’s failing Engines running
Then after all I sense the end is dawning These lunatics deny the truth
I know I will not fail There’ll be
War it’s now or never We shall stand together One by one This world is sacred (I’m coming home) War it’s now or never We shall stand together One by one This world is sacred I’m coming home
Coming home
You chase in twilight And you know You will be on your own On your own
The misery shown I’ll be alone in this hour I’ll face the unknown Witness the end
I’m bleeding, I’m fading Here in my final hour When long-lost memories return And a voice keeps calling “All dead and gone It’s out of hand Life is in motion” I’m wishing, I’m fading “Time to wake up Face the truth”
I’m sinking I’m drowning There’s no doubt, no regret “Time to reveal now” This is no illusion It is real Carry on the flame It’s not over now Watch me, I will rise Time to reveal now
I know I will not fail Anymore
I’ll go on forever All that really matters Blessed realm This world is sacred (I’m coming home) War it’s now or never We shall stand together One by one This world is sacred (I’m coming home)
Yesterday’s gone There’s no today, no tomorrow I’m raised from the dead The ritual failed
There at the gates I’m left alone in this hour Driven insane I am left alone
And now I drown in deepest shadows While the golden hall is sealed I’m wishing I’m fading And I’m part of the machine
My eyes are the eyes of a dead man And I feel the unholy stream The source of my power T-energy I’m in control
I will live forever All that really matters Find the one This world is sacred (I’m coming home) War it’s now or never We shall stand together One by one This world is sacred I’m coming home
I spread my wings But keep on falling I should have known I can see it coming The war is over There’s whispering in the wind Just let me out of here There is no way There’s no end While all the suffering goes on All that I know Is that I’m not insane It’s not over
Up until late July, Nekrogoblikon were a nearly forgotten gimmick. Their first and only previous album, Goblin Island, was released in 2006, and that was the last I ever heard of them. Aside from telling the story of an extra-terrestrial goblin invasion of the most heinous sort (they even ruin Christmas), it featured, among other things, sound clips of the band screaming like little girls, an actual stereotypical Christmas song, a cover of In Flames’ Artifacts of the Black Rain with all the lyrics substituted for banter about goblins, and a dance beat chiptune outro. Musically, it was simultaneously a mockery of a lot of the bands that probably influenced them and a pretty decent, enjoyable imitation of them. But it was never funny in say, a GWAR or Alestorm sort of way. It was more like a Weird Al thing–a novelty. You laugh, but you really don’t want your friends to know you listen to it, and you never play through it twice in a row.
Goblin Box
Their new album is a very different beast. Over the past five years they’ve actually matured into really good song-writers. Don’t get me wrong, Goblin Island had some really catchy tracks, but in the music just as in the lyrics there was a sort of audible immaturity, by design of course, that made light of the bands they were imitating. On Stench this notion is more internal. That is, they’re still parodying Children of Bodom, Finntroll, and just about anything in between, but instead of hearing a bunch of kids making a joke you hear a bunch of goblins being goblins. The immaturity is no longer in the execution; it’s encased in really solid music that, given better production value, could rival many of the very same albums it pokes and prods.
Basically, on Stench the line between a musical parody and a successful cross-genre epic metal masterpiece is very grey indeed. Yet the lyrics are just as blatantly whimsical as ever. The result is hard to swallow, because it’s so good and so bad at the same time. I imagine the spoken ending of this song is a rip on Rhapsody of Fire’s infamously lame spoken lines; it goes approximately “The humans had opened the box to torture and maim all kinds of magical creatures, but the goblins were not to be trifled with. No, not to be trifled with at all. And as the humans laid there, a pulsating mound of bone and flesh, dead and mutilated beyond all hope and reason, the goblins feasted upon their rotting corpses, filling the halls with the shrill sound of chilling laughter….. Forever!” And yet when you listen to it, beneath the cheese you get the feeling that it’s a really badass ending.
It took quite a while for me to get sufficiently passed the fact that it’s a parody to enjoy it in its own right. That was Stench’s initial impact: a part of me was left feeling like I’d been cheated out of something awesome on par with Ensiferum and Equilibrium, but the more I listened to it the more I wanted to click repeat, plant my hand firmly in the center of my face, and grin from ear to ear underneath it. At this point I can safely say I love it unconditionally.
Gallows & Graves
There’s something of a third dynamic going on here as well, and it’s what really tips the scale towards greatness. In some odd capacity this really is, well, goblin metal. If we think of them as those short, mischievous little tinkers that are a good bit like gnomes with the added plus of being spawns of Satan, you can actually hear something of this in the music. Goblins ARE both comical and evil, and while Goblin Island was too much of a joke (albeit a good one) to capture this, Stench pulls it off. Trolls and vikings and pirates have all acquired a sort of musical imagery, much of which isn’t meant to be taken entirely seriously. The idea of a goblin is a good deal less serious than all of those to begin with, and if I was going to “seriously” create a metal sound to capture them, well, Stench seems pretty on the mark. The frantic intro/chorus melody of Gallows & Graves and the kind of childish clear vocals really do call to mind some small, obnoxious, vicious little bugger hopping around your feet, and this same musical imagery reoccurs throughout Stench with a consistency that Goblin Island lacked.
A Feast
It’s really hard to talk about what Nekrogoblikon “accomplished” on this album with a straight face, but the fact of the matter is Stench is really damn good. They manage to successfully combine elements of more metal sub-genres than I can count. It’s also got the clever bonus of thematically justifying all of its potential negatives. Goblins are as obnoxious as they are evil, right, so if they’re mocking a bunch of their metal predecessors musically it’s only natural. This is goblin metal.
Over the top gimmicks have been helping otherwise average bands make names for themselves since times unknown. Rarely do they backfire, but with Powerwolf I just don’t know. The music on this album is incredibly good. Having never heard them before, I thought maybe they just drew a lyrical blank, sort of burning out on their gimmick while still steamrolling as musicians. But apparently, from what I’ve read at least, all four of their albums are pretty much identical thematically.
Sanctified with Dynamite
That is pretty strange considering Blood of the Saints is itself so thematically narrow that I get the feeling half of the songs use the exact same lyrics. I mean, I criticized Alestorm this year for pushing the line “get drunk or die” a bit farther than necessary at the expense of more clever lyrics, but compared to this album Back Through Time is pure poetry.
Each track pretty much consists of five lines: the name of the song, something about dying, something about wolves, something about blood, and the word “hallelujah”. That makes the opening track, Sanctified with Dynamite, the most lyrically diverse song on the album, because it is the only track that does not mention blood, wolves, or dying in the title.
They wrote a song called “We Drink Your Blood” and a song called “All We Need is Blood” and put them on the same album. Really? You would think the conceptual powers of an angry eight year old would translate to the music itself.
We Drink Your Blood
But in fact, this album is undeniably great. Their sound is powerful and enormous. The operatic vocals, the sinister organ, the production as a whole, everything just surrounds you and kicks your ass. The heavy metal choruses are always catchy in spite of the far too discernible lyrics. Every track is memorable. Musically, there’s just no getting around the quality of this album.
Why couldn’t they be singing in German or Romanian, their two native languages? Why couldn’t I enjoy this in blissful ignorance and not have to endure some of the lamest lyrics ever written? Oh dear…
Night of the Werewolves
If We Drink Your Blood sounds like a heavy metal version of Lordi, Night of the Werewolves has an almost Iron Maiden feel to it. The album is consistently comparable to my favorites among power-infused heavy metal bands, and they add a unique operatic element to the mix. It’s just that their comedy routine is something more on par with a Meet the Spartans. Blood of the Saints is definitely good enough for me to get over that and still enjoy it. Their lyrics aren’t annoying really, because the vocals are so good. It’s just disappointing that they couldn’t cultivate their gimmick into something actually entertaining. Blood of the Saints could have been a lot better than it actually is with relatively little additional effort on the band’s part. But so what, I guess, because I’m not going to stop listening to this one for a long time.
As long as Alestorm keep doing what they do I will continue to be entertained by them. They are incredible musicians and take folk metal down a unique path. The expectations for a band of their sort are pretty demanding though. You can’t just write good music; you have to be funny, kick ass, and do it all within a narrow context–in their case pirates.
Song: Back Through Time
Three albums in, Alestorm were probably feeling the drain on original material. At first they seemed to resolve it. Back Through Time opens with a GWARish novelty. The band stumble upon a portal into the past and wage war against vikings. With lines like “you put your faith in Odin and Thor, we put ours in cannons and whores,” the door was open to develop a clever concept album.
Song: Scraping the Barrel
Unfortunately, and rather irrationally, the new novelty is dropped almost as soon as they introduce it. They got my hopes up for a rival to GWAR’s Beyond Hell, and instead went right back to the same old topics from track 2 onwards. That’s fine, but Black Sails at Midnight really raised the bar from Captain Morgan’s Revenge. “I want more wenches and mead!” was thoroughly sufficient to amuse me on their first album, where pirate metal itself was still a novelty. On Black Sails the lyrics “matured”. They weren’t just silly, they were clever, well crafted, and effective. Epic tracks like Keelhauled and Pirate Song would have amounted to nothing if they were just more mindless clamorings for loose women and alcohol.
So the second track’s chorus of “Shipwrecked! Get drunk or die!” was a definite disappointment, even if it made me giggle. The rest of the album is pretty much the same mundane thing. A few absurd lines that make you smile every time (“Slap that midget with an oar! Remove his legs with a saw!”), and a lot of mindless demands for booze. I mean, it’s not that I don’t like it. Korpiklaani have been doing pretty much the same thing now for seven albums and I still listen to them obsessively. It’s just that I expected a little bit more lyrically out of Alestorm.
At least they know it. “Many have told us that we can’t go on–That one day we’ll run out of lyrics for songs. But when the time comes to write album four, we’ll scrape at the barrel once more!” It’s just that the whole pirate vs. viking thing seemed so promising and they went nowhere with it.
Song: Death Throes of the Terrorsquid
Among the album’s high points is a pretty epic grand finale. It’s something of a conclusion to the Black Sails track Leviathan. They lost to him last time, this time they win, simple enough. The lyrics are decidedly more creative than the rest of the album. That doesn’t exactly make them poetic, but they’re at least sufficient to not make a mockery of what is a really well written song. As the pirates reach their destination and the squid emerges, black metal vocalist Ken Sorceron of Abigail Williams takes up the mic to add a whole new level of intensity that I hope we’ll hear more of on their future releases. “Epic sea battle” isn’t a theme you exactly hear much of in music, and this song is Alestorm’s best effort to date at pulling it off.
But it’s not my favorite track.
Song: The Irish Descendants – Barrett’s Privateers
The only thing I might love more than Irish folk is Irish/Canadian sea shanties. Stan Rogers might not have written Barrett’s Privateers until 1976, but it became an instant, frequently covered classic of the genre, just as authentic as anything written in the 19th century. Alestorm have established a history of cover songs. Whether covering a proper song (Flower of Scotland on Captain Morgan’s Revenge), turning a shitty pop song into something amazing (Wolves of the Sea on Black Sails at Midnight), or just trolling the hell out of us (THIS fabulous atrocity on the LTD Edition of Back Through Time), Alestorm have been consistent about including at least one cover on every album. This is the first time they’ve tackled a song that was truly excellent in its original form however, and they pulled it off to perfection.
Song: Barrett’s Privateers
The fact that Týr frontman and folk metal god Heri Joensen appears to provide a guitar solo in the middle doesn’t hurt any.
All things considered, Back Through Time is nowhere near as good as Black Sails at Midnight and ranks slightly below Captain Morgan’s Revenge, but that’s no reason to avoid it. It’s still an entertaining ride from start to finish, and one I find myself putting on repeat on a regular basis. Check it out.
Falconer is a band I’ve been encouraged to listen to for close to a decade now, and a few song samples aside I did a fine job of ignoring them. The term “power metal”, for all the fabulous bands associated with it, is something of a caution sign. I see it and brace myself for either high-pitched whiny singing or operatic vocals excessive to the point of being cheesy, coupled with completely generic, repetitive riffs that without fail give way after the second chorus into the guitar solo equivalent of a mid-life crisis mobile.
Song: Svarta Änkan
Thankfully, Armod is not that kind of power metal album. You might think it is briefly on the first track, but there are early signs of deviation. Within 45 seconds Mathias Blad softly explodes onto the stage with a vocal performance reminiscent of Vintersorg’s work with Otyg. Not too much later (around 1:20) the guitarist changes course, mimicking the vocals with deep and pronounced tones that likewise resemble Otyg. Sure, the structure of the song follows a power metal standard, complete with a slightly overdone guitar solo that you hear coming a mile off, but Mathias’s singing, his choice of Swedish over English, and that folk metal style guitar that accompanies him and takes the spotlight around 5:15 all point to something more.
Song: Herr Peder Och Hans Syster
That something fully manifests in the second track, Dimmornas Drottning, but I’m going to go ahead and post Herr Peder Och Hans Systerinstead, it being my favorite on the album. It lacks the violin that distinguishes Dimmornas Drottning (another feature reminiscent of Otyg), but the vocals and guitar pair up just perfectly from start to finish. And with the exception of a mild reminder in the chorus, you would never know the band had heard of power metal let alone performed it for ten years. It’s about as folk metal as you can get with nothing but guitars, drums and vocals.
Song: Griftefrid
What’s really great about Armod though is that it’s not a folk metal album either. It will go down as folk/power metal, and rightly so I suppose, but what I’m really hearing is a conscious melding of styles. When I say some of the songs remind me of Otyg, it goes beyond a mere coincidental resemblance. I think their music was actively influential on the creation of this album. Likewise, Griftefrid offers up the power of black metal-influenced symphonic acts like Equilibrium because, I think, Falconer actively listens to music of that sort and made a conscious effort to integrate it into their own sound.
Song: Eklundapolskan
The end result is one of the most stylistically diverse albums I’ve heard all year, and it is diverse in the best possible way. This is the sort of album you could have never experienced in the dark ages of the 90s, when people still had to hunt down new music in person and pay hard cash for every release. I could be wrong, but I think Falconer really did their research on this one.
The album’s only down side is a set of “bonus” tracks at the end, comprised of songs from the album proper remixed with English vocals. Skip them, I beseech you. The Swedish vocals are the centerpoint of this album, around which all of the various metal trends Falconer incorporate coalesce.
I know how to smell a scam, and this thing reeks. But I couldn’t write it off so easily, because I found it through a band’s official tour schedule. So I started looking around at a bunch of different band sites, a bunch of reputable music magazines, everything I could think of, and sure enough, it appears to be legit. If it is a scam, it’s about the most well played one I’ve ever encountered. I honestly think this is real.
So you probably figure, ok, cruises are for yuppies and old people, it’s probably going to be a lot of cheesy hair metal, washed up gimmicks, and no name bands. It certainly isn’t going to be the most impressive names in metal, all playing at least two sets a piece, chilling on the deck getting hammered with the fans between performances, right? …Right?…
Blind Guardian, Týr, Finntroll, Ensiferum, Korpiklaani, Amon Amarth, and Iced Earth top the lineup. I’m not fucking kidding. This cruise includes Nevermore, Marduk, Sonata Arctica, Moonspell, Rage, Epica, Dark Tranquility, Testament, Obituary, Exodus, Fear Factory, Gamma Ray, Unleashed, and a Bathory cover band consisting of members of Mayhem, Einherjer, Dimmu Borgir, Thyrfing, and Primordial.
On a cruise ship.
I think I just crapped my pants.
According to the creator of all this, “I live in Vancouver, BC, very close to the cruise ship terminal. So one day about three years ago I was sitting with my friends on my balcony having a few beers. Obviously we had one too many, because I remember asking those guys, hey, wouldn’t that be cool to charter one of these and put a heavy metal festival on? That was when 70000TONS OF METAL was born.”
This pick for song of the day marks the fifth time the “Bards” from Germany has made an appearance. This song marks the third track to be chosen from their latest album, At The Edge of Time. To say that I am a fan of Blind Guardian would be just a tad bit of an understatement.
“Valkyries” is the latest song of the day and it’s Blind Guardian at their most progressive metal. As a band they’ve grown from a German speed and thrash metal band then became one of the progenitors of the power metal subgenre. For the past dozen or so years they’ve evolved their sound to incorporate progressive, melodic, symphonic and orchestral stylings to their basic power metal sound.
This song has lead bard Hansi Kürsch writing about Norse mythology, specifically the concept of the Valkyries who fly and roam above the battlefield to take those worthy slain warriors to Valhalla. Kürsch has been one of the best songwriters in the metal scene that I’ve had the pleasure to listen to. His songs are musical epic poems and if one has been following the previous “song of the day” entries involving this band they would’ve seen just how complex and intricate the lyrics Kürsch as come up with for each and every song. “Valkyries” lyrics are no different and listening to him sing it in his distinct voice conjures up images of glorious battlefields and brave warriors clashing in battle.
Listening to this song definitely would make for a great way to pump one up for the possibility of going into battle with battleaxe and sword in hand.
Valkyries
To the gods of the north, I pray And raise my cup for the fallen ones Then I cry In Valhalla they’ll sing
Rain Red blood keeps pouring down Come Valkyries, join me on that final ride
Here I lie bleeding Odin, I await thee
The battle rages on
New lines they’re weaving The future, the past and the present They’re one They will reveal their mask To show me a way to survive This bitter war
Soon it will be over He will be the one We’ll weave in
And terror will now rule these lands
When the battle is lost And the slain ones are chosen Valkyries will guide us home When the battle is lost And the slain ones are chosen Valkyries will guide us home
Destiny A spinning wheel The path of glory Round and round Come join us On your final ride to Asgard Let’s move on fast Allfather waits So let’s heed the final call
For now We leave this world behind It’s over
All glory to the brave Still blood will rain Through storm and fire Let war winds reign It’s the feast for the crows
Follow the light Just follow the light Or fade away
Soon it will be over He will be the one We’ll weave in and terror will now rule these lands
When the battle is lost And the slain ones are chosen Valkyries will guide us home When the battle is lost And the slain ones are chosen Valkyries will guide us home
We’ll keep on weaving We’re crushing through lines With our battering swords We’re marching on Assign the brave To survive This bitter war
Soon it will be over He will be the one We’ll weave in
And terror will now rule these lands
When the battle is lost And the slain ones are chosen Valkyries will guide us home When the battle is lost And the slain ones are chosen Valkyries will guide us home We’ll heed the final call A call to arms The valkyries will guide us home
Then finally I hear them say Carry on For Valhalla awaits you
Again the power metal lads from Germany, Blind Guardian, appears for the fourth time with one of their newest songs for Song of the Day. The song of which I speak of is the second ballad of two that Blind Guardian composed and produced for their latest album, “War of the Thrones”.
While metal bands have done ballads in the past and will continue to do so, Blind Guardian has shied away from the power ballads of most metal bands and have instead opted for the kind of folksy ballads that troubadours and traveling bards of the Middle Ages and the Age of Renaissance played much in inns and royal courts across the lands. In fact, the band has seen themselves more like traveling bards (but with a power metal kick to their music).
“War of the Thrones” definitely sounds like something a traveling troupe of bards would play at a royal court. Even the subject matter which inspired the song is from a historical fantasy series of novels by fantasy writer George R.R. Martin whose A Song of Fire and Ice many have seen as the American Lord of the Rings. The band never shies away from the fantasy aspects of their songwriting and with this song they embrace this aspect of their band’s sound.
The song’s lyrics has themes and ideas from Martin’s fantasy series. From the raging war for the throne of Westeros which has engulfed the lands south of the Wall to the sinister “Others” beyond the wall whose march will raze the Wall which keeps them from the warring kingdoms in the south. For fans of Martin’s fantasy series the song should be a delight as it brings up imagery from the books. For fans of Blind Guardian it’s a nice addition to their growing folksy ballads which goes hand in hand with their faster and more complex work.
War of the Thrones
Nothing will grow here
Icy fields – blackened sorrow
Legacy of a lost mind
Feed my void
What you’re waiting for
I’m too late
It is more than a game
The river reveals
Now I’m in between these lines
I cannot escape it seems
Sail on, my friend
All I ever feel is
All I ever see is
Walls they fall
When the march of the Others begins
All I ever feel is
All I ever see is
Rise and fall
When the War of the Thrones shall begin
While I sit there in silence
Come and talk to me
I can’t free my mind
It is all I’m begging for
While I sit there in silence
Will it ever end?
Will I find what I’m longing for?
Will I ever walk out of shadows so grey?
I’m condemned, I am hallowed
Icy fields they won’t hurt anymore
Will you walk with me?
Any further
There at world’s end
It’s me
I sing
I cannot escape it seems
Sadly I sing
All I ever feel is
All I ever see is
Walls they fall
When the march of the Others begins
All I ever feel is
All I ever see is
Rise and fall
When the War of the Thrones shall begin
Away
Watch the river it flows
(Now and ever)
I cannot believe in more
And now my time will come
Carry on
Will I ever learn from the past?
Will I fade away?
Will I ever stay where the shadows will grow?
There is luck at the gallows
I will free my mind
Soon it will show
Let it rain
There’ll be no spring
My dream is a mirror
It reveals a matter of lies
All I ever feel is
All I ever see is
Rise and fall
When the War of the Thrones will begin
All I ever feel is
All I ever see is
Rise and fall
When the War of the Thrones has begun
Leave a fee for the tillerman
And the river behind…
Latest song of the day once again comes courtesy from the German power metal lads of Blind Guardian. This time around the song chosen comes from their latest album which has already seen a European release and set to drop in North America in August 24, 2010. The song I’ve picked from their latest album, “At the Edge of Time”, is the seventh track: “Control the Divine”.
This latest album’s sound harkens back to Blind Guardian’s seventh full-length album, “A Night at the Opera”, which brought the band into the realm of epic power metal and some progressive rock elements which showed the band willing to experiment with their sound to come up with some new hybrid style. “Control the Divine” definitely combines the epic power and proggy sounds evident in ANATO. While it doesn’t have the old-school speed metal riffs of “Tanelorn (Into the Void)” (second track in the new album), the mid-tempo of “Control the Divine” remains consistent throughout the song from André’s lead guitar to Ehmke’s drumming. But it’s the singing of lead vocalist Hansi Kürsch which makes this song my overall favorite in the album.
Kürsch has a distinct singing voice and with his penchant for overdubbing his vocals to create Blind Guardian’s epic sound of having a “huge chorus” singing along (there’s not just Hansi) definitely fits in well with the song’s lyrics. Lyrics which tells within a span of 5mins and 25secs John Milton’s epic poem, Paradise Lost. The song tells of Lucifer’s downfall, to the rebellion in Heaven against God, and right up to the Lord of the Morningstar’s bitter brooding and vow to destroy God’s chosen (humans). That sounds quite a lot to put into a song which is just under five-and-a-half minutes long, but Blind Guardian accomplished it.
Oh yeah, this song also has a very kick-ass melody.
Control the Divine
For what I was
I’m doomed to be
The tempter and the secret foe
Cause I am hell and hell is me
Pure hate will grow
Still I claim to be the chosen one and
Still I claim
This is rebellion rising
[Bridge 1]
First amongst equals
We’re bound to no law
There’s no one before us
Ethereal sons
Now disobey
Awake and arise
You’ll be free
[Chorus]
How can we take it away
From someone who has no right?
No right to control the divine
Night shall invade
Suspicion awakes
Wherefore He’s greater than I
[Lead: Andre]
Stay silent
Until the end of the world
So just like slaves we may deem him
Dead silence
Until the end of the world
Hence from this moment we’re doomed
I feel
It hurts though
Disburdened spirits we will be
I’ve learned my lesson
Pure and sore
An offer divine
We’re far beneath them
They consider us slaves
They steal our pride
Don’t trust them blindly
Cause truth they conceal
As it seems
I’ll reign
Cause here in my tower
Impassioned, I’ll show you a way
[Bridge 2]
I can feel your hallowed rage
Now enter my realm
Awake and arise, you’ll be free
[Chorus]
How can we take it away
From someone who has no right?
No right to control the divine
Night shall invade
Suspicion awakes
Wherefore He’s greater than I
[Solo: Andre]
[Bridge 3]
Descend – just keep moving
All things shall proceed
It’s freedom you’re choosing
Preserve our hate
Eternalize
Awake and arise
You’ll be free
[Chorus]
How can we take it away
From someone who has no right?
No right to control the divine
Night shall invade
Suspicion awakes
Wherefore He’s greater than I
How can we take it away
From someone who has no right?
No right to control the divine
Night shall invade
Suspicion awakes
Wherefore He’s greater than I
The latest pick for Song of the Day is a song that’s literally worshipped by some people I know. For them this is the greatest song ever made or, if not, as close to being the greatest song. Today’s pick for Song of the Day is Blind Guardian’s “And Then There Was Silence”.
The song runs an epic 14 minutes long and comes from this German power metal band’s 2001 album, A Night at the Opera. The song is pretty much based on the events spoken of in Homer’s The Iliad and Virgil’s Aeneid. Think about what I just said. It’s a power metal song about the Battle of Troy, specifically the final days of Troy. There are many with misconceptions that metal is all about growling, guttural noises by singers who can’t hold a note or even know the definition of melody. This song will disabuse such notions as Blind Guardian frontman Hansi Kürsch does more than just hold a melody but actually hit notes than only the most accomplished sopranos can accomplish.
“And Then There Was Silence” is the song which finally got me hooked into power metal, or as I call it, nerd metal since this subgenre of metal takes much of its songwriting influences from fantasy novels, films and games in addition to well-known legends, myths and folklore. This particular song uses the final days of Troy as seen through the eyes of Cassandra. The song plays just like an epic poem on its right and I’ve compared it to the ending of Peter Jackson’s The Return of the King with the many endings. Just when one thinks the song is about to hit it’s climactic end another section begins, but one that just adds to the awesome awesomeness of the song.
Yes, I said awesome twice. That’s just how awesomely awesome this awesome song is.
I think even non-fans of metal would find something to appreciate in this song once they hear it. Even if just once.
And Then There Was Silence
Turn your head and see the fields of flames
He carries along
From a distant place
He’s on his way
He’ll bring decay
(don’t move along cause things they will go wrong
the end is getting closer day by day)
in shades of grey
We’re doomed to face the night
Light’s out of sight
Since we’ve reached the point of no return
We pray for starlight
We wait for the moon
The sky is empty
Alone in the unknown
We’re getting nowhere
We have been betrayed
By the wind and the rain
The sacred halls empty and cold
The sacrifice made should not be done in vain
Revenge will be taken by Rome
We live a lie
Under the dying moon
Pale faced laughs doom
Indulges in delight
It’s getting out of hand
The final curtain will fall
Hear my voice
There is no choice
There’s no way out
You’ll find out
We don’t regret it
So many man have failed
But now he’s gone
Go out and get it
The madman’s head it shall be thine
We don’t regret it
That someone else dies hidden in disguise
Go out and get it
Orion’s hound shines bright
Don’t you think it’s time to stop the chase
Around the ring
Just stop running, running
Round the ring
Don’t you know that fate has been decided
By the gods
Feel the distance, distance
Out of reach
Welcome to the end…
Watch your step, Cassandra
You may fall
As I’ve stumbled on the field
Sister mine
Death’s a certain thing
Find myself in darkest places
Find myself drifting away
And the otherworld
The otherworld appears
Find myself, she dies in vain
I cannot be freed
I’m falling down
As time runs faster
Moves towards disaster
The ferryman will wait for you
My dear
And then there was silence
Just a voice from the otherworld
Like a leaf in an icy world
Memories will fade
Misty tales and poems lost
All the bliss and beauty will be gone
May my weary soul find release for a while
At the moment of death I will smile
It’s the triumph of shame and disease
In the end
Iliad
Raise my hands and praise the day
Brake the spell, show me the way
In decay
The flame of Troy will shine bright
The newborn child would carry ruin to the hall
The newborn’s death will be a blessing to us all
Good choice?
Bad choice?
Out of three
You’ve choosen misery
Power and wisdom
You deny
Bad choice
War is the only answer
When love will conquer fear
So the judgment’s been made
To the fairest
The graceful says
Badly he fails
Warning
Fear the heat of passion, father king
Don’t let him in
Don’t let her in
Desire, lust, obssession
Death they’ll bring
We can’t get out
Once they are in
She’s like the sunrise
Outshines the moon at night
Precious like starlight
She’ll bring in a murderous price
In darkness grows the seed of man’s defeat
Jealousy
I can clearly see the end now
I can clearly see the end now
I can clearly see the end now
The thread of life in spun
The coin’s been placed below my tongue
Never give up
Never give in
Be on our side
So we can win
Never give up
Never give in
Be on our side
Old moon’s time is soon to come
Nowhere to run
Nowhere to hide
Nothing to lose
Like one we’ll stand
We’ll face the storm
Created by man
Troy, Troy, Troy, Troy
And as the lion
Slaughters man
I am the wolf
And you’re the lamb
Hallowed Troy shall fall
Round the walls
Faith is shattered, bodies fall
Nowhere to run
Nowhere to hide
Nothing to lose
Like one we’ll stand
It’s all for one and one for all
All we live for will be wiped out
I feel that something’s wrong
Surprise, surprise they’re gone
Full moon your time goes by
And new moon’s still kept out of sight
We live
We die
Misty tales and poems lost
All the bliss and beauty will be gone
May my weary soul find release for a while
At the moment of death I will smile
It’s the triumph of shame and disease
In the end
Iliad
Raise my hands and praise the day
Brake the spell, show me the way
In decay
The flame of Troy will shine bright
Roam in darkness
Spread the vision
We will be lost if you truly believe
Troy in darkness
There’s a cold emptiness in our hearts
That they’ve gone away
And won’t come back
They’ll tear down the wall to bring it in
They’ll truly believe in the lie
With blossoms they’ll welcome the old foe
The vision’s so clear
When day and dream unite
The end is near
You’d better be prepared
The nightmare shall be over now
There’s nothing more to fear
Come join in our singing
And dance with us now
The nightmare shall be over now
There’s nothing more to fear
The war it is over, forevermore
No hope
The blind leads the blind
Carry on
Though future’s denied
Mare or stallion
There’s far more inside
We are in at the kill
We’ll cheerfully die
Misty tales and poems lost
All the bliss and beauty will be gone
May my weary soul find release for a while
At the moment of death I will smile
It’s the triumph of shame and disease
In the end
Iliad
Raise my hands and praise the day
Brake the spell, show me the way
In decay
The flame of Troy will shine bright
Its holy light shines on
So the judgement’s been made
We’re condemned though the trial’s far ahead
The crack of doom
Father
Your handsome son is heading home
Heading home
Still the wind blows
Calm and silent
Carries news from a distant shore
Out of mind
Can’t get it
Can’t get it out of my head
Through the Shattered Lens 