Spyral Don T Leave MP3 __EXCLUSIVE__ Download

Reference:Adapted from Richard Rohr, In the Beginning . . . Six hours with Rob Bell and Richard Rohr on Reclaiming the Original Christian Narrative (Center for Action and Contemplation: 2014), disc 2, CD, MP3 download.

Spyral Don T Leave MP3 Download

The song is about an escape, to freedom of thought.the dead lungs mean that this person has nothing to say, but when the dead lungs command it,they command for him to speak out.the line"you pour your life down the rifle's spiral" is describing something you dedicate yourself to. the rifle's spiral.when the song says "cleric's fog" it's talking about a cleric or a person in a clergy or a religious group who believe something. but the "fog" is the belief. and a fog/belief can sometimes be blinding. so when this fog/belief is receding(going away) the person can see the truth and meaning about the belief and judge it for himself. so after the person sees the truth behind the group and what they believe in, the person wants to leave because he knows it's not right for him."so long to these wretched forms"but when he leaves, his life is hard because being in this group is everything. and now that he's looking the other way, people look down on him.so after the person leaves this group, the person tries to strike back by getting others to see what he sees. but after he fails, he falls into a depression never to be seen, when he goes away, he's doing the group a favor by not opposing them, while he's here, he also judges himself to have always been one of them. but"glitz of a shopping mall" means that a shopping mall has many different choices, so when he sees this he then knows that he can be whatever he wants to be.so the person goes about the rest of his life with the freedom to think and believe whatever he wants to, he describes himself as a grain of salt in a sea, and the sea is just a another way of saying "the rest of the people who are just like him" when the person realizes this, he goes along with his own free life with not a single care of how anyone else thinks of him." so long before you were born you were always to be a floating dagger straight to their heart" explains that this person was always to be the one person who rises form this fiat(order)and does what he wants to do.

Later in 2016, Michael approaches a real estate agent named Helen Richardson who is selling a house on Saint Albans Avenue. It claims to be taking the place of one Adrian Lombardi and refuses to shake Richardson's hand when offered. Richardson hurriedly shows Michael the house before he interrupts to point out a door he had manifested. Richardson enters the door after staring at it for a time and is taken into Michael's corridors, where she wanders for three days. Inside the corridors, Michael appears to Richardson in its distorted form, likely intending to consume her. By chance, she manages to escape through a mirror and return to reality. Michael keeps hidden and follows Richardson to The Magnus Institute, where she makes a statement regarding her experience and attempts to draw a map of the corridors she traveled. After she finishes her statement she unknowingly leaves through a door which had been manifested by Michael, returning her to the corridors.[2]

Some weeks after, Helen appears to John as he is finishing a statement. She wants to talk with John, but is accused of pretending to be Helen Richardson and of taking on false identities. She says she is struggling badly with her new identity as Helen but that the intensity of Michael's anger gave her no choice but to take on this new existence. Helen tells John that she felt confused and dissatisfied after taking a victim, and that she had hoped that since Helen Richardson found comfort in talking with John the same would be true for her. John becomes angry and accuses her of lying about her motivations. Offended, Helen reasons with John and implies that their experiences in becoming avatars are similar, but his anger intensifies and he demands that she leave.[18]

Shortly after John and Martin begin their journey to The Panopticon, Helen greets them and voices her support of their relationship. She antagonises John while offering mostly-polite conversation to Martin, then leaves after calling the two of them "adorable" to Martin's amusement and John's chagrin.[23]

Helen privately watches as John destroys Jude Perry and Jared Hopworth, but reveals herself after he chooses not to kill Simon Fairchild. She voices her disappointment with John, but after her encouragements to kill aren't responded to she becomes sharp. Helen is frustrated and unimpressed with John, as she had assumed he would have embraced his role and power as The Archivist after bringing about The Change. She has been enjoying herself in the new world and views his moral dilemma as selfish and immature. John and Martin do not respond to her outburst, and Helen leaves.[25]

When John, Martin, and Basira pass through Wonderland House, a domain of The Spiral , Helen appears and offers Basira a shortcut on her path to killing Daisy. After Basira declines, Helen derides her decision and criticises John's continued rejection of their new world. She then leaves to participate in the torture of the domain's victims.[17]

After Basira kills Daisy and John and Martin leave Upton House, Helen appears as John and Martin near a Spiral-aligned domain. To Martin's frustration, she laments Basira's decision to kill Daisy and claims to have only been making a point when she previously encouraged Basira to kill her partner. Helen becomes offended when Martin bluntly asks why she appeared to them, as to him it seems she only came to antagonise them. She states that she wants to be friends and reveals that Martin has his own domain, something John had been keeping from him, before leaving.[27]

Both John and Helen are aware that Helen will oppose any attempt to change the world back to what it was, something that leaves John worried for Martin's safety. He repeatedly tries to destroy Helen, but she has full control over the structure and location of her domain and dramatically changes before The Eye can properly focus on her. John directly states his intention to kill her, and after a brief pause Helen says that she is not afraid of him. Sensing the lie, John calls on The Eye to witness Helen's fear and to follow it back to her being. Helen immediately drops her bravado and offers him a door to leave, then brings up times she helped him while desperately begging John not to kill her. When he is not swayed, she calls him a monster and says that killing her will also kill the people in her domain. She states the pointlessness of John's attempt to change the world back, then is fully destroyed.[1]

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While progressive metal had its origins in the 80s with bands like Queensryche, Fates Warning and Dream Theater bringing the fledgling metal style a greater audience, the true honor goes to the Texas based Watchtower who with their "King Crimson effect" pioneered a release that many consider the very first progressive metal album "Energetic Disassembly" all the way back in 1985. Although very few were listening, they would skip a few grades in the world of complexity just when metal was just becoming popular in the mainstream. While the style would evolve and splinter as new metal sub-genera were springing forth, very few if any bands would emulate the unique technically demanding assault of sizzling metal freneticism geeked out in more jazz infused compositional constructs at least when accompanied by high pitched vocals. While Watchtower would release two amazingly brilliant albums during the brief run in the 80s, unfortunately very few were listening since they were well ahead of the pack and the overall public was just getting accustomed to the nascent thrash, death and black metal genres, however the techniques involved didn't go unnoticed by musicians themselves. As the 90s saw a huge evolutionary development in the metal universe, the technical aspects that had debuted with Watchtower ended up being used in the newer styles especially in the rich fertile fields of death metal which would soon develop its own technical strain of complexity. While bands like Dream Theater were more akin to symphonic prog of the 70s with more metal aspects, bands like Cynic, Voivod, Atheist, Pestilence and Death would adopt many of these jazzified technical aspects of Watchtower and run away with it.Far away in Norway, a band called SPIRAL ARCHITECT was born when guitarist Steiner Gundersen hooked up with the remains of the band Anesthesia which included the members Kaj Gornitzka (guitar), Lars K. Norberg (bass) and Asgeir Mickelson (drums). This team of seasoned veterans had a mission and that was to recreate the progressive metal magic that occurred with a very few bands that exercised technical chops in the more traditional 80s metal style in the vein of not only Watchtower but Fates Warning and Psychotic Waltz without resorting to adopting the snarling death growls that the technical metal universe had been gravitating towards since the early 90s. While formed in 1995, it would take the band five whole years to craft their one and only album A SCEPTIC'S UNIVERSE which married the technical finger busting wizardry with the passionately delivered emotional intensity of the classics of 80s metal.A SCEPTIC'S UNIVERSE offers both a sense of familiarity as well as stunning new mind-blowing displays of technical metal profusion where no compromise is the name of the game however the band's primary focus isn't to blow away the audience (although that does occur) but rather craft cleverly complexly constructed compositions that revolve around rather accessible melodic developments. Much like Cynic and Death, SPIRAL ARCHITECT finds the right melodic grooves to riff around and then simply offers a multitude of progressive variations that include everything from tempo shifts and bizarre dynamic changes to time signature rich angularities. With a firm grasp on not only metal sensibilities, the band incorporate the wide array of jazz influences into the mix with allows an amazing dexterity in polyrhythms and contrapuntal gymnastics that leave the listener bedazzled in disbelief. With a keen sense of guitar riffage that would prove to be influential for death metal hybrids like Necrophagist and a keen sense of traditional power metal from the likes of Crimson Glory, SPIRAL ARCHITECT is like the ultimate tech infused tribute band that not only nails all the head-spinning technical workouts like pros but also seamlessly evoke many of the greats that led up the turn of the millennium when this was released. A SCEPTIC'S UNIVERSE is one of those albums that is literally flawless but yet seems a little too derivative in its blatant rampage through the Watchtower meets Psychotic Waltz meets Fates Warning worship. While the impeccable juggling act of emotional fortitude, instrumental prowess and atmospheric embellishments warrant a 5 star rating, the fact is that this band merely took what was already presented by their influence and exaggerated everything substantially and while a completely satisfying listen in the end, still leaves a slightly bad taste in my mouth because i really want this to be a new Watchtower album which is what it sounds like.While technically this technical band from Montreal, Quebec is still in existence, the reality is that in their two decade plus existence, they have only released this sole album and most members are involved in completely non-related projects mostly existing in the black metal realm, however for those who completely despise death growls for vocals and in the process are completely shut out of the magnificent wealth of technical death metal bands that exist in the 21st century, this will be an album that satisfies on many, many levels and if it weren't for the exaggerated Starcastle effect (the band that cloned progressive rock Yes' early works), i'd be on board for declaring this a bona fide masterpiece and if it actually were the third Watchtower release or the next chapter of Psychotic Waltz or even a blip on the Fates Warning canon, i would indeed but i do subtract points for being too blatantly inspired. Still though, impressive album that must be heard by any fan of progressive metal's top tier albums. social review comments Review PermalinkPosted Thursday, January 10, 2019 Review this album Report (Review #2117001) 041b061a72