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Insomnium is pretty close to the most overrated band ever. I'm astonished at how high their average scores are at MA, and I know some people who just mercilessly ejaculate over everything they do, and it drives me up the fucking wall. They're melodeath with no riffs and mainly just sad melodies, ooooooh! The vocals are usually pretty great but when it comes to this particular little subniche of melodeath, I prefer the more triumphant side like Amon Amarth.
And yet, here I am, adding another high score onto the pile, and that has a lot to do with what makes Insomnium work in the first place, they're a mood music, and there really isn't much better when you're in the right mood. And right now? I'm damn sure in the right fucking mood.
What mood is that, you ask, dear reader? Fucking soul crushing depression, that's what. Since the Day It All Came Down is pretty much my soundtrack to wandering aimlessly around the forest for hours at night, silently praying that I step in a bear trap and get eaten by a fox instead of having to return to civilization and daylight again. The title track is the song I hear in my head when I'm standing at the edge of the metaphorical cliff, just basking in the last moments of life before I finally reach the triumph of nothingness. This is a paradoxically energetic take on the concepts of loss and loneliness, and it works in a way I would have never expected it to work. It's just gloomy melodeath with a surprising amount of variety with an abundance of acoustic passages and a very, very heavy focus on melody. This is just an overload of emotion and melancholy, painted over the canvas of generally mid paced melodeath.
This goes against everything I look for and appreciate in music, really. I like my music to be fun, I like to enjoy fast and energetic stuff, it's why I pimp Slayer and Gamma Ray and Vader and Municipal Waste so much even though they're some of the most popular bands in the genre. Insomnium is about as close as you can get to being completely opposite without turning into doom or sludge or some shit. Most of Since the Day It All Came Down moves along at a very deliberate pace, with special care put into every note and every lyric, and it emphasizes the melancholic mood and atmosphere of the whole thing. Quite a far cry from the rip roaring frenzy I normally prefer to listen to. That's not to say there aren't high tempo moments, most notably the climaxes of the title track and "Under the Plaintive Sky", but the majority of the runtime is taken up by midpaced melodies and acoustic passages. And I hate to be an artsy fartsy "why can't Cannibal Corpse write death metal as beautiful as Opeth?" tool... but goddammit Insomnium write some fucking gorgeous music. At not one point in the record do I think the melodies fall flat, or that the pacing is off, or that the atmosphere isn't effective, none of that. I'll admit to not being entirely familiar with all of Insomnium's work, but the biggest difference I can notice is that the vocals are slightly better on some later albums (being deeper and more full sounding than here), but otherwise the band clearly had their signature sound pegged down by now. I don't know how you can make music, much less something based in metal, actually sound like the embodiment of despair and loneliness, but they manage to nail it here (yeah yeah I've never listened to Katatonia or My Dying Bride, sue me).
Since the Day It All Came Down is pitch dark, and slathered in moodiness. The bright spots shine in the more overtly gorgeous moments, but for the most part the relatively clear lyrics and strong melodies carry you into a pit and then leave you there to rot. Niilo's vocals are remarkably clear for having such a deep, booming growl, and it helps that the lyrics are surprisingly well written as well, expertly conveying the themes of loss and sorrow to the listener. I do have a problem with the clean vocals that pop up from time to time though, as they pretty heartily fail to be emotional and instead just kind of sound like a deep voiced guy kind of rambling in the background. That aside, the keys and acoustics of the album really probably add the most to the whole package, but the big climaxes that surface in places like "Song of the Forlorn Son", "Closing Words", "Under the Plaintive Sky", and especially the opening title track are the most memorable and powerful moments on the album. Shit, singling out those four songs is a bit of an injustice to the other seven. This is stunningly consistent in its songwriting and its quality. If you like one song, you're probably going to like them all. They're all big, ambitious melodeath songs with no real riffs to speak of, merely focusing on really basic rhythm patterns underneath deep Johan Hegg-esque growls with soaring melodies that manage to be both triumphant, beautiful, and sorrowful at the same time. All this coupled with a perfectly crippling atmosphere makes for an album that, while not perfect, does enough right to make me not really care about the small flaws like the clean vocals/whispers. When I'm not in the mood, I'll never put this on, but when I am, it's the best album ever. The atmosphere is just nearly flawless in its scope and execution.
That's really what makes this work, the atmsophere, the mood. The feeling of this album is impeccable, and the entire time it's on, I may physically be sitting on my laptop drinking tap water that tastes suspiciously like celery, but in my mind I'm sitting with my feet dangling idly over a cliff, above a beautiful scene, looking back on my life and friends and family and loves with teary eyed reverence. Since the Day It All Came Down transports me to another world, where there is only me and endless wilderness. Nothing else matters, I'm just about to return to the dirt, like we all do someday, and I'm looking back at the beauty of what my life once was, and lamenting the fact that all the beauty is gone from myself. The world is a splendorous place, full of wonder and majesty, and yet in my own mind, it's monochrome and dry. There's nothing left for me but to just ruminate on what I had before I lost it. How I lost it doesn't matter, the point is that it's gone, my world is empty apart from myself, the lush landscape which taunts me with its vibrancy, and the overwhelming weight of sorrow and despair on my shoulders. The soothing sound of the waters in the forest creek and the rustling of the leaves in the wind is what permeates my psyche and reminds me that there is beauty in the world, but it is no longer mine to coexist with. With this final breath, I stand up at the edge of this cliff, close my eyes, and smile as I allow the gentle breeze to give me the subtle motivation to finally succeed at what I'd consistently failed at in life...
I put my best foot forward.
Originally written for Lair of the Bastard
Opinions tend to vary as to whether Insomnium was truly instituted with their more orthodox Gothenburg tinged debut, or 2 years later when they started to develop into something a bit more unique, though clearly well within the parameters of the established melodeath paradigm. But whether one prefers the scenery to be purely woeful, or an evenly matched hybrid of sorrow and scorn, they are quite apt at delivering the essential goods. They are a major player not so much for breaking into uncharted territory, but rather by refining existing standards to the point that they come off as fresh from the snow covered horizon, not all that different from a fatalistic hermit who ventures out of his mountain abode for a time to tell the rest of the world how miserable they actually are.
For all the talk that “Since The Day It All Came Down” is some sort of massive departure from their 2002 first offering, it tends to listen likely a somewhat faster and slightly more agitated version of the latter. The same general atmospheric aesthetic of nostalgic acoustic lines and dense synthesizer and piano sounds make their presence know amid a sea of distorted riffs, gradually developing melodic lines and semi-discernible orc barks. In essence, this is something of a halfway point between the moderately fast yet still somehow dragging character of In Flames that characterized “In The Halls Of Awaiting” and the nimbler, power/thrash infused character of a number of Finnish outfits, mostly in the mold of the humble yet epic purveyors otherwise known as Kalmah.
This slight divergence towards the more indicative character of their homeland results in Insomnium putting forth something that is pretty far from restful in nature, save when the acoustic parts chime in, and they do with slightly less frequency here. The shorter offerings in “The Day It All Came Down”, “Death Walked The Earth” and “Closing Words” have a drive to them that is much closer to a power metal character, and seem to imply a formulaic melodic line that is obscured by Niilo’s raving grunts, all of which remind pretty heavily of the Florida approach to traditional death metal vocals, rather than the sepulchral, blackened character embodied in most Gothenburg or Finnish melodeath outfits. But when the longer efforts come in, namely “Disengagement” and “Daughter Of The Moon”, it gets a bit closer to the slower, “The Jester Race” character of their debut, and that is definitely not a bad thing.
For the most part, this is the same story as the last one, just with a slightly faster delivery and a few additional tricks. The only area where things fall a tiny bit short is in the production department as the drums are just a tad bit dry sounding. But this is barely noticeable save on those few instances where the arrangement isn’t flooded with either melodic guitar drones or keyboard textures, and does little to detract from the power of the whole. Anyone who likes melodeath in its original, non-metalcore or modern rock infused state should be familiar with this band, and even doubly so if looking for a Gothenburg oriented band that is not quite as overblown as Children Of Bodom has become of late. Not to mention that this is great music to listen to in the late reaches of autumn when all around turns from green to death.
Well, this is a logical continuation of my review series where I try to share my love with an excellent melodic death metal albums; part one, and two of the brilliant songwriting series represented Insomnium ‘In the Halls of The Awaiting’, and Gates of Ishtar ‘Dawn of Flames’. Part three is again the Insomnium with their second album, 'Since The Day It All Came Down’
Wow, this is the absolutely fantastic magical music those guys created using the melodic death metal toolbox. If you define a hypothetical melodic death metal toolbox, as a certain melodic foundations characterized by the use of standard ‘hooks’, the young Finnish musicians created an original, and awesome work of art.
The simple atmospheric instrumental creates images of trees, rivers, and the atmosphere of beauty and a healing power of nature, and then the title track rips you apart with a monstrously heavy wall of sound/ misanthropic melodies, and a brutal vocal delivery. The whole record creates a similar effect with the fantastic compositions, and an absolutely no weak moments. Also, the songwriting seems to be influenced by a certain groups, expecially the early Opeth, the early Gothenburg, and the Amorphis, the songs sound pretty original.
There are some expecially interesting instrumental pieces: the brutal riffing of the title track, awesome acoustic sections in the ‘Disengagement’ , Opeth like guitar solo in the ‘Bereavement’, headbangable rhythmic patterns in the ‘Daughter of The Moon’ , and so on. But the main beauty of this album is its perfect flow. It is impossible to pick out a favorite song, since they all deserve an A!
Also, the lyrics are very beautiful. In conclusion this is a pinnacle of an intelligent songwriting put in the metal context, possibly one of those records which would make the godfather of the genre Chuck Schuldiner proud.
What a dark, dreary, droopy, acoustified album. Not only that, but it takes some nods from Opeth (compare “Resonance” to “For Absent Friends” off of Deliverance. While some tracks do carry the brown streak of Opeth, the rest can be hailed as a truly romantic experience. This is in no underhanded praise toward the melodic death metal boy toy Ville Friman. His savageness is a reflection of his pieces. What we have here is an album more akin to the debut, with that passive aggressive sense of gloom. The production is definitely a step up, but the formula remains exactly the same as the first one, as if they rerecorded tracks left out of the debut. One notable difference is the overuse of acoustics. For melodic death metal, yes, it may come off as a bit excessive, but they are used much in the same way as Agalloch attempts them.
Since The Day It All Came Down is a varied album when generally hearing it. We have fast tracks, doomy tracks, melodic tracks, and epic tracks. I’d like to commend the drumming on this one big time, since Markus here is able to create some dearly headbangable patterns and stimulating use of the double bass. I take a sense of warmth and comfort from these majestic compositions. The apocalyptic opener serves well as a sinister inspiration to the following songs, with the title track kicking off in addictive fashion. Dead serious, the album peaked at the title track. It’s grand, extremely melodic, entertaining, and damn well evil enough to make love to. If the climax at 3:15 of the title track doesn’t make you want curb stomp a poseur, then I’ll personally write a “Fuck Me” letter to Insomnium. “Bereavement” follows suit in the same way with a short and sweet keyboard intro before unleashing complete melodic bliss. Vänni and Friman earned my respect from day one – these two make a formidable duo.
Even the slower and more acoustic oriented tracks like “Daughter Of The Moon” and “Under The Plaintive Sky” are very melancholic. They’re so catchy; you can tell they were written for fans of folk and pagan themed metal. The final track, “Song Of The Forlorn Son,” feels like that magical moment you share between your loved one that no one can break – that historical moment that will resonate within you for decades to come. You can’t help but stand in awe at the fact that MEN composed such beauty!
Nillo’s vocals are the rough sort of growls, very adaptive towards the production and much more filling than on the debut. He would perfect this on their next album, but his performance here is respectable. The whispers and spoken parts are addicting with the melody, I’d say, though some may disagree. The longest track here, “Disengagement,” is hard to bear, considering it’s very slow and doesn’t make any lasting impact. Again, this would be perfected on their next album and was already pulled off successfully on the debut, so there’s really no excuse how they fucked that up. Lastly, there are solos to be found here, but they don’t steal the show nor add anything too rewarding to the ears. Once more, they would achieve precision with this formula on Above The Weeping World.
Now, Ville Friman. That silky brown hair that waves like forests of Finland, coupled with a hot finger for melody makes for a passionate night. I have yet to see this man fail to deliver a good time. Do yourself a favor – skip the cheap hooker and pay this man to fill you with more love juice by… playing this album… Yeah you sick fuck what did you think I mean?
For many years the Metal genre is looked down by people as noise. Mainstream metal bands only helped them shape that thought, and people were stubborn to surrender to the fact that most of the metal music took a lot of skill to produce. Emotion in metal was a taboo, and was completely turned over by calling the deep raspy vocals “mindlessly shouting”. People couldn’t be more wrong.
The album is a sad and gloomy record. A look at the first track title concludes it. Nocturne is a saddening piano ballad with low melodies slowly progressing into the first metal track: The Day It All Came Down. When the song starts, it’s easy to reckon the overuse of the melody. This is however not a bad thing. Insomnium quite put it out well. They set the melody on the front step, yet they didn’t forget the importance of the rhythmic section. The whole album is packed together with an extremely big load of melodies. They harmonize, put a sad tone down or make a song sound more aggressive. The difference of a lead riff and another lead riff is quite easy to recognize, yet doesn’t completely differ much from it.
The reason why this band is called “the second Opeth” is because of the extensive use of acoustic parts. Almost every song has 1 or more acoustic parts where the listener can relax from the fury that the band made a minute ago. It’s hard to switch from a heavy part to a relaxing part. Insomnium however perfectly executed in every song. Their songwriting in terms of switching from different riffs is incredible tight. Just like Opeth they tend to forget the standard formula and just write what their heart brings up. Songs like Disengagement reach a fairly long length, while some shorter songs such as Bereavement and the depressive album closer Song of the Forlorn Son have reached climaxes where words are just inconvenient to tell the beauty from it.
Of course, it’s not the Valhalla of music. The approach towards the switching themes between acoustic and distorted remains the same throughout the album. The melodies always take the frontline while the rhythm section tends just to follow the lead guitar. This leads sometimes to some generic chords. The chords however always go nice along with the melodies, making it somewhat less bad. Another negative thing is Nillo’s voice. His growling is fantastic, and his spoken word is decent. His flaw lies in the fact that he barely changes his voice. It’s just like the music every time the same approach. It’s not that band though because as I already mentioned, it’s mostly about the melodies.
Although the definition: “The album starts overwhelming, and ends emotional, but lacks in between” is vaguely true, the album deserves no statement like that. No single song is unnecessary or bad and differ enough from the other songs. With only some minor flaws in the two songs Death Walked the Earth and Disengagement, and primary perfection in every song, it’s fair to say we’re talking about a classic album. An unknown classic album it is.
Top 6 songs:
1. Song of the Forlorn Son
3. The Day It All Came down
4. Closing Words
6. Under The Plaintive Sky
Songs I don’t care for
None. Every song has a different feeling, and every song should be considered as a classic.
This review was originially written for www.sputnikmusic.com under the name TheHamburgerman
Insomnium seems to have cleaned up the melodic death metal scene after In Flames puked all over it with their last two albums, but if you are a fan of their older stuff, like me, then Insomnium is the band for you.
This album starts off with a dark piano peice that slows down at the end and lingers with one note hanging in the air...and then...the guitars erupt at exactly the right moment, almost forcing you to convulse your entire body in headbanging frenzy. After that, it just gets better.
The riffs in this album are fantastic. They are dark and melodic with acoustic peices and speedy double bass drumming at all the right moments. This album has a lot of somber harmonies that you hear often in bands like Swallow the Sun and Well of Tears. The vocalist also does a great job switching between death metal growls, black metal shreiks, and melodic, almost whispery chants.
All in all, this is a solid release and hopefully not Insomnium's last. I have heard brutal death metal heads who oppose melodic death tell me that this is actually pretty good. So, if you like older In Flames, Swallow the Sun, or Well of Tears, go out and buy this shit. You will not be sorry.
I know many more people like the second album more than the first, but with that I have to disagree...
When we had In The Halls of Awaiting, we had a lot of energy in the songs, we had good guitar and drumming although the guitar seemed to kind of go over the drums. We also had acoustic pieces which were nice and put in the right places and weren't too long...
Now we have Since The Day It All Came Down, and some basic comments on this album is that it does sound darker however doesn't seem as heavy anymore. There are many acoustic pieces and unfortunately many of them get boring too quickly. They have no real feeling to them and no meaning, they just seem to go on and on and they seem just too simple and unentertaining.
We still have songs that will make instant classics such as "The Day It All Came Down" which is similar to the stuff Insomnium had on In the Halls of Awaiting which was an amazing album. This song is quick and full of energy. There is one short acoustic piece however even that is enjoyable. Another is "Daughter of the Moon" which is slower and not as heavy and is darker, with some acoustic pieces, however it is also very enjoyable. "Bereavement" is good and fast moving.
Upon mentioning "Bereavement" I will discuss keyboards as Insomnium decided to include them in this album and I think this was a very wise decision. We have "Nocturne" which is a nice, dark intro for the album and sets the mood, and we also have a brilliant piano intro on "Bereavement". This was good and I hope they will still have keyboards in their next album...
However I must also come to other songs which aren't highlights on this album. Such songs include an acoustic instrumental, "Resonance" which is very slow moving, boring, and just plain worthless. "Disengagement" was also a rather boring and slow moving song with too many dull acoustic pieces for its own good.
Overall to sum up the album I think Insomnium have definately changed from their first album, although for me it wasn't the best move possible. They should stop using so many acoustic pieces as some are okay, but there's a point when there just becomes too much and it all becomes repetitive and boring (did I fail to mention that all the acoustic parts sound almost identical?). They need to give the drums more room, as you could barely hear them over the constant guitars, although the guitar playing for the most part is very well done. Nillo Sevanen does a brilliant job with his growling vocals, however his whispers get boring, then again you can't be growling to an acoustic piece...(cough, Opeth, cough). This isn't a bad album and is still very enjoyable, just a step down from their previous work, which I really recommend to basically any fan of metal. Insomnium truly has most of their memories worked out well and many of them become memorable classics.
Insomnium’s new album “Since the day it all came down” really took me by surprise this year. I had no idea this great band would be releasing another album, and then the next thing I know there promo’s lying on my doorstep.
2002’s album “In The Halls Of Awaiting”, while a good debut, that I found offered the metal community an interesting take on the over saturated mellodeath scene, didn’t get much airplay time from me. I cant quite put my finger on it, but it seemed to me that the album had to much filler, and lacked the cohesion I crave so dearly in my metal albums. Despite this albums fate I knew, that if Insomnium matured a bit more, they would be a difficult force to reckon with.
My presumptions about Insomnium are proven correct with their second album “Since the day it all came down”. Everything on this album is more mature than their predecessor, particularly the general song writing. While “In the halls of the awaiting“, was essentially mellodeath in nature, Since the day it all came down, transcends such a definition. The music on this album while still very melodic, has a very doomy overtone, that shows up not only on the many slow arrangements, but in the general persona of the album. “Since the day it all came down” still has several mid paced mellodeath licks, yet a certain cloud of despair and darkness permeates even these moments.
Insomnium’s take on mellodeath is very unique and refreshing. While most bands that play mellodeath have a happy upbeat sound, Insomnium sound miserable and unhappy. You can tell the members of Insomnium have suffered quite a great deal because the compositions on here were not written by happy minds. The lyrics as well are quite poetic, and reinforce the dark mindset of this album.
Another atypical attribute of Insomnium are there vocals, which are growled not screamed like most bands playing this melodic style of music. I personally think these vocals fit the band really well because they make the music sound even darker and more epic. In addition to being another of the many factors that make Insomnium deviate from the norm.
For those looking for a direct musical analogy, the best thing I can offer is to compare there doomy mid paced aura to that of early Amorphis, with the general emptyness and sorrow of a band such as old katatonia, blended with the melodic catchiness of a band like In Flames. Finally take a strong dose of acoustic work via mid era Opeth and you have good idea what your dealing with.
All in all since the day it all came down is a damn catchy album that both emotional yet groving at the same time. I highly recommend this band, and “since the day it all came down” is a good place to start out.
Anyone who is farmiliar with Insomnium is well aware of how much the first album sounded like Jester Race/Whoracle album In Flames. It was pretty good, it wasnt the best thing ever, but it was definately worth listening to on occasion. This time however, Insomnium have taken their own approach to making eerily dark yet very melodic metal. There are a lot more acoustic guitars on this album, and they are done quite well and very tastefully. This may be one of the better releases of this year (not the best though, the new Vintersorg is amazing). In typical fashion of my reviews, here is the play by play:
1) Nocturne - a very dark sounding piano intro, and it really sets the tone for the whole album. The ambiance in the background only adds to how eerie and dark it sounds. One of the better intro songs used on any album, and it's definately not one you're going to want to skip over. 10/10
2) The Day it all Came Down - The title track, and one of the faster more upbeat songs on the album. It is a very nice contrast to the intro which is very slow. Right off the bat you can tell it sounds a lot less like in flames, however conversely a little more like dark tranquillity. There is still a little in flames worship in this song, but it's not nearly as obvious as the previous album. At the 3 minute mark you hear what I was talking about with the acoustic guitars already, although short, it is a great bridge to the rest of the song, however some of the parts seem to be reused one too many times. 8/10
3) Daughter of the Moon - More awesome acoustics start off this song, and once again a similarity can be made to newer dark tranquillity with the way the verse goes. The whispering vocals over the acoustic guitar parts is awesome, as it was on the last album. The drum part at about 2:39 is a nice change of the standard double bass roll 4/4 time with the off time jazzy sounding ride hits. The second part of this song, after the long acoustic interlude is just awesome. 9/10
4) The Moment of Reckoning - I swear to you, the guitar lead they put over the intro riff in this song was stuck in my head for days. The combining of acoustics and electrics for about 2 seconds in the first couple lines is a nice touch. Insert awesome acoustic part, and continue on with the song. There is a nice switching between clean and harsh vocals in this song, so if you enjoy that kind of thing, you're set. Some of the acoustics in this song actually remind me of Opeth quite a bit, which is very sweet indeed. This is my favorite song on the album as well. 10/10
5) Bereavment - Another one of the more upbeat songs on the album. This also has a bit of in flames worship in it, however it is not overdone by anymeans. It is a very catchy song overall, as well as very well structured to prevent it from getting boring especially since the tempo doesn't change that much. These guys definately know what they are doing with their song layouts. There are some string synths in this song towards the latter half of the song, which only add to the song, as opposed to take away which happens sometimes when bands who do not have a keyboardist primarily add synth parts into the song. 9 / 10
6) Under the Plaintive Sky - Here we see another use of combining acoustic and electric guitars simultaneously. Although it is relatively short, this song has a very Ballad-y feel to it, which means it is probably very awesome live. However, despite that, the distorted, acoustic, distorted, acoustic pattern this song follows seems a little overdone at times, not enough to make the song unlistenable though. Once again some synths show up, and are added very well. 8/10
7) Resonance - Starts out with a very Opeth feel to it, kind of remniscent of Benighted, at least in my mind, but it is a very very awesome interlude for the album. Clocking at 2:29, this short interlude is probably one of the best instrumentals in the middle of an album I've ever heard. 10/10
8) Death Walked the Earth - This song starts out upbeat, but slows down by the time the verse kicks in. There is some real nice guitar harmonization in this song, and once again at 1:30 an acoustic part comes in (I told you there were a lot on this album), the lyrics from this part carry over to the following part, only following it instead of spoken they are growled. At 2:50 another acoustic part comes up, once again, i feel it has a very Opeth feel to it, especially the more rock n roll sounding lead they put over it. There are a few riffs in this whole acoustic montage, as well as a pretty good guitar solo, which actually leads up into the lead that goes over the electric part. Overall a very awesome song. 10/10
9) Disengagement - The longest song of the album, clocking at 8:39, and since I happen to be very long winded, I'll try and keep this one short haha. The first minute is all instrumental, which is followed by a verse with a semi harmonized lead on it, which sounds excellent. The drums in this song are particularly powerful, and used to make more mellow sounding parts more intense than they normally would sound. 2:30 brings us more acoustic guitar listening pleasure, with an electric guitar distorted lead over it, which allows a smooth transition to the next part, which shares a very similar lead. This song follows along with the rest of the album, however due to it being longer, there is a lot more that goes on in it. Disengagement is basically a summary of the entire album in an 8:39 long song, and it is my second favorite song on the album. 10/10
10) Closing Words - You would think with a title like closing words, it would be the last song on the album, but it is not, you were decieved! That's fine though because although this song is very good, it would not be good for the final song of an album, it just doesn't have that ending of the album feel to it. There is nothing particularly amazing about this song, but it is still quite good; there just happens to be nothing in particular that just jumps out and grabs you. 7/10
11) Song of the Forlorn Son - Here is the closure to the album that it so rightly diserves. Starts out with some extremely dark sounding synths, which continue on into the song itself. The acoustic guitars in this song are very mellow, and very eerie simultaneously. The basswork has been taken a backseat almost the entire album, but during the acoustic part at around a minute into it, you actually get to hear some very nice bass. This song never does pick up at all tempo wise, but makes up for its slowness in great atmosphere, which keeps it from being boring at all. A great ending for a great album. 9/10