#Story Behind the Song

[mlmoseley]

manifesting this ends up in front of the music director of the james bond/007 movie. or the fourth wing/acotar show? maybe??

i’m a person that sees the potential not the present.

wrote this one after constantly finding myself trying to fix people in relationships.

always seeing the best in people leads to me often overextending myself or giving more into a relationship than is being given to me.

this song is basically me saying I can’t do it anymore. I can’t heal you, i can’t fix your problems, i love you but i need to leave and heal now.

i think this song would be so beautiful in edits and i would love to see some of you guys use it!!! if you do use, please tag me 🤍🤍🤍🤍

i love u

[broken pieces- unreleased- written by me]

[the-chill-remains]

‘Ruby Tuesday’: The Story Behind The Rolling Stones Song

[amestilskin]

I write articles about songs on my DeviantArt.

Currently, I have 33 articles written (the first few aren't that great because I was 19 or 20 when I started writing them).

If you have songs you want me to write about, send me an ask. Anything that I quote/get my information from will be linked.

If anybody is interested. I always include a link to the music video (or lyric video) and lyrics before I start talking about the song.

[fourth-dimensional-thinker]

Imagining Marty's future discography. Inspired by this post by @timechange

[wodania]

“I don’t know what I’m supposed to do, haunted by the ghost of you / oh take me back to the night we met,” ~ The Night We Met by Lord Huron

inspired by Salome with the head of John the Baptist by Bernardino Luini, via MFA Boston

[zishuge]

Story of Kunning Palace (2023) | Ep. 38

[valtsv]

one bright spot of hope in my miserable life is that ever since i started taking my current antidepressants my memory loss has definitely improved

[elderwisp]

𝔇𝔦𝔡 𝔪𝔶 𝔥𝔢𝔞𝔯𝔱 𝔩𝔬𝔳𝔢 𝔱𝔦𝔩𝔩 𝔫𝔬𝔴?

[longlivetv]

When people realize the only consistent muse in TTPD is Taylor I will know peace

[fistfuloflightning]

I don’t deserve you

inspo came from here (I’m partial to the deeper version)

[themanwhomadeamonster]

The 1999 combat theme and its foreshadowing because the autism got to me and I spent too long trying to figure out this soundtrack

Jumping off from @brokenjardaantech's WITW music analysis post here - go check it out, it's very insightful and lays the foundations for what I'm about to talk about! And thanks to @theterribletenno for the burst of inspiration by giving me a massive oh shit realisation in the most chilling way possible LOL

Spoilers under the read-more; TL;DR at the end :'^D

To preface, the soundtrack is structured in an ABC structure with bridges between A and B, as well as another between B and C that borrows from A. The key starts in Cm, briefly modulating to Gm in section B then back to Cm during the second bridge, and settling on Em for section C. In-game for WITW you most likely will only hear up to the first bridge since the Technocyte fight only goes for around a minute long

Sections A, the bridges and partially C feature genre similarities to grunge rock with fuzzy guitar chugging, whammy bar, and palm muting, while the drums are notably sharp snares (except for the first bridge, which are clean bass kicks that gradually distort transitioning into section B's style). Musically, it sounds like a typical fighting soundtrack meant to hype you up - the melody is confident and likes to push and pull its rhythm. But in section C it notably become emptier in its layering while keeping the distorted drums, placing emphasis on the lyrics (which I'll get to below lol). Heavier syncopation and polyrhythms are also introduced.

Section B however is the main outlier. This section is where it most strongly resembles industrial rock: rhythmic synth layers begin to accompany the melody (a pedal point line that plays every semiquaver/sixteenth note), synth drums replace acoustics and the guitars drop the fuzz that is characteristic of grunge and steadily strum every quaver/eighth note. Compared to the push and pull rhythm of section A, this section is steadier, less chaotic than the other sections, it wants you to focus on this section.

Notably, the lead guitar introduces a familiar leitmotif: This is What You Are (which @brokenjardaantech goes more in depth regarding its use in WITW). Here, though, its second chord becomes flattened (Dm -> D♭m) and introduces a diminished, dissonant sound. To me this was the first hint that the song may actually be about Arthur's downfall. This is What You Are is a musical leitmotif that recurs in moments of vulnerability, especially when someone is at risk of losing their sense of self, their identity and what they are. It plays during The Second Dream when we discover the Operator, during the New War when Eidolon!Lotus just lost herself to Ballas and can't recognise the Tenno, and in WITW during the Vessel "fight" when the Tenno is forced out of their Warframe.

I was prompted to actually dig more into the lyrics because I saw @theterribletenno bring up something really interesting

In this specific song, the leitmotif is diminished, it's corrupted. "Surrender to the corruption" - this is what Arthur is afraid of. I brought up earlier that section B had a genre shift. The contrast of the music is important, it's highlighting something, and together with the musicality of the leitmotif, it's making a sense of urgency and danger. The leitmotif is a warning to Arthur.

Section B sings these lyrics:

Break it, break it, Break it open!

Compared to the desperation in the other lines, these two lines are sung mockingly. The Infested are trying to break Arthur, and are succeeding. Their voice is becoming his. But there are actually two vocal lines in this section - you can also hear muted backing vocals in a much less aggressive and lethargic tone warning that "Disillusion". Arthur is trying so hard to keep his own voice and stay clear-minded but it's being drowned out and he's nearing his breaking point, and Albrecht, based on the Codex Fragments you find, is well aware of this.

In section C, while the layering is less intense it's noticeably more heavily syncopated and polyrhythmic, and introduces new (accompanying) echoing and dissonant synth layers reflecting the confusion and disorientation that Arthur begins to feel (these synth layers are actually introduced in the second bridge, but are more easily heard in section C). Section B and C also keep the synth/distorted drums that section A and both bridges lack (at most it's a reverb in those sections); the industrial sound of the song becoming associated with the increasing influence of the Infested over his humanity.

So I tried deciphering more lyrics for each section; I haven't figured all of it out and most of it could very well be wrong because of how heavily clipped the vocal line intentionally is so I don't want to make anymore assumptions than I need to, but I can understand enough of it to realise that the song is foreshadowing Arthur's corruption to the Infested. In green are the lyrics I'm confident are correct:

A:

Sting it, sting it, sting it! Sting it, sting it, sting it in the flesh!

Bridge:

I don't understand! It brings more disease!

B:

Break it, break it, Break it open! (Disillusion)

Bridge:

Sting it, sting it! Sting it in the flesh!

C:

Who's dreaming? Who's the [???] It's a vision[?]!

TL;DR: the grunge/industrial genre hybrid represents Arthur's humanity/Infested respectively, and the song becomes increasingly industrial as the song progresses, most noticeably through the increasing distortion of the drum sound. Section A sets the stage, section B serves as a warning to Arthur that he's losing his sense of identity as the Infestation drowns out his "voice" while a dissonant version of This is What You Are plays, and section C is him experiencing confusion and disorientation as the Infestation continues to corrupt him.

[shima-draws]

Writes a full blown essay about why Mary On A Cross is THE Sanlu song to me ever,

[musicmags]

[lyn-ne]

i’ll hide it all in my heart, deepfaker

[cosmogyros]

Inspired by that last post, I guess it's time to repost some of my original songs for which I never thought to post lyrics in the first place. This is "Dawn and Catastrophe", written and sung by me, with backing tracks by my dear and talented friend LJ Montgomery.

Dawn and Catastrophe

Night falls, and I'm a lost soul In the dark hugging a telephone pole I came from Easy Street along the Road to Ruin The name surprises me every time Maybe that's a dangerous sign Maybe I don't know what I'm doing

I'm standing at the corner of Dawn and Catastrophe Just gotta take one step, before the night takes me I swear I didn't just call to ask for your advice I'm gonna be alone when I make this choice But it sure is nice To hear your voice As I'm standing on the corner of Dawn and Catastrophe Now I'll hang up the phone And the moment hangs on me

Day breaks, and there's a cold dew And I didn't move the whole night through Caught between tomorrow and the end I can't see what I stand before What's behind the second door I never could decide, no matter when

So now I'm living on the corner of Dawn and Catastrophe I couldn't take that step, and in the end the night took me I got a cardboard box to protect me from the rain And a bunch of demons on my back, it seems And I'm not insane But in my dreams There's a battle on the corner of Dawn and Catastrophe And if I turn on the light Everything turns on me

[seaweedstarshine]

“That’s a bold choice, Dalek Supreme, coming to a wedding planet dressed in white! Unless you’re here to get hitched… should I be flattered?”

“We are here to exterminate you.”

“Oh, that’s probably for the best. Not sure River would be up for a marriage à trois… not with a Dalek, at any rate.”

—Eleventh Doctor Chronicles: Victory of the Doctor