Deadman's Hand

The song is in 4/4 standard time in the key of B minor.

The main riff is based off the minor Aeolian scale with a descending pattern going from:

1 ([tonic note] B) - 5 (F#) - flat 7 (A) - 4 (E) - flat 6 (G) - flat 3 (D) - 5 again (F#) - 2 (C#) - 4 (E) - root (B).

Then it reverses and ascends through the same pattern.

Straight after the intro the counterpoint melody occurs between two guitars: one playing a scalic style motif with slides while the other one plays an arpeggiated style motif. This concept continues throughout the verse and drops out to just the bass and arpeggio lines during the chorus. The main ostinato - played by the guitar and bass - almost swings with a triplet feel.

During the chorus section the bass switches to a straight 8 (semiquavers) feel to create more of a pulsing effect. The chorus, which is polyphonic in texture, particularly the third time it appears (2:31 - 2:51), is very dense (texturally) due to the superimposed instruments - namely, keyboards (with reverb); natural feedback harmonics from the guitar (heard in the distance); the thumping bass; driving drums, and the whispery style vocals with reverb - playing multiple melodies, therefore, creating a very full, ambient sound.

After that, all but the drums and guitar are silenced whilst the main ostinato is played again. This highly effective technique of easing the intensity in the music prepares the listener for the peak section of the track: the guitar solo section. Furthermore, it is in contrast to the texturally rich chorus beforehand, so it creates a feeling of suspense - the calm before the storm, leading into the climatic point, i.e., the GSS.



Pangaea

  • 4/4
  • Intro starts off with an arpeggiated A minor 6 chord implying the use of the Dorian mode (Natural 6 instead of a flat 6, like Aeolian)
  • Possibly the most interesting bass playing on the album. Again, much like Deadman's Hand, the main ostinato during the verses is based off a 1 to 5 concept - based off a power chord. The note selection is: E, C, B | D, B, A | B, F#, G. The actual delivery of this riff makes it interesting. Each part starts with two pulses on the leading note, for example E, and then there's a little pivot between two other notes e.g. C to B. The swooping slide up to the octave B is really nice - and creative. Steve combines the rhythmical and melodic aspects at the same time as keeping a pulse, which all in all manufactures a very soothing melody. Altogether it really is rather ingenious!
  • A distant 12 string guitar can be heard in the background during the verse using a strumming pattern which weaves in and out of the beat specifically accenting the 1 and 3
  • Another interesting concept presents itself when a second acoustic guitar enters about mid-way through the verse accenting beats 2 and 4 in particular while the other guitar is accenting beats 1 and 3. So playful … like a game of ping-pong
  • Wonderful chorus, with its waves of sound flowing from the word "Pangaea" and the guitar gently riding the vocal wave with a slow bend, adding more mist to the reverb and delay filled air (of the vocals)
  • Just after the chorus there is a brief guitar interlude (1:09-1:20) (arpeggio) section which sounds like raindrops hitting water (drippy sound)
  • Pronunciation aside, interesting phrasing on "Pangaea", with nice vocal slides
  • Guitar solo very medieval sounding especially with the accompanying cello
  • Guitar solo based off a pedal tone concept, choosing a drone note and then ascending and descending while returning to the note, e.g. E, D, E, C, E, B, E, A, E, etc. This technique was used greatly during medieval times and in a lot of baroque music
  • All of these musical concepts flow together well to really paint an image of an old world: haunting cello, bright and rusty sounding acoustic guitar, swooping bass, crying vocals, watery 12 string guitar. Images: Birds soaring, oceans, forests, landscapes, blue skies …




On Angel Street

The song begins with a peaceful pulse on the organ, followed by a looming, scratchy guitar, playing lines in the background. Vocals enter soon after, progressing slowly and building texturally. A keyboard slowly fades in followed by chords being strummed on a very bright and ambient sounding acoustic guitar, intensifying the atmosphere. Volume swells on the guitar deliver a haunting cry similar somewhat to a violin weeping. The music is shaded further by the low growl of the bass, consoling - with its smooth and soft melody lines - the crying guitar. Finally the song almost becomes tribal with the sounds of a bongo playing distantly in the background with the swirling swish of the cymbals in the foreground, and a glassy sounding guitar delivering waves of sound (4:41) accompanied by a murmuring, dancing bass line.



Lunar

An abstract on abstract music

  • 4/4
  • Intro features an oriental sounding (synth) flute
  • Slightly dirty guitar, drenched in chorus and delay
  • Sounds like a war chant/march
  • Pounding bass drum creating a 'march' feel
  • Thumps land on beats 2 and 4
  • Counterpoint melodies are heard throughout between vocals and oriental flute sound at 1:02-2:01. This section can actually be considered polyphonic since the bass line is also playing a variation of the melody, so you hear the flute, vocal and bass melodies at the same time
  • Bass line is quite busy with the little descending run melody during 1:02-2:01 based off triplets
  • An abstract song in terms of the flute sound; the note choices for the vocals; the strange, high harmonic sound at 2:08 that leads into the last section; the abstract structure, i.e. no specific verses or chorus; the long pause at 2:04; the last fragment, which changes the song completely, making it sound like an entirely new song; the unusual harmonies, and the brief dissonance at 2: 55 as a minor second harmony - between the vocals and the synth sound - clashes with the primary one
  • Harmonically this song is probably the most diverse song on the album, containing some unusual chord sequences and chord choices showing experimentation, for example, the augmented chord into a resolution at 2:59