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I think people have digested this album enough that they are starting to pick up on some stuff maybe not everyone is hearing. What are some cool intricacies you guys have heard so far on the album? I'll start. Has anyone noticed on the first softer part of the bridge for Walking on the Sky that it has some pretty cool vocals from Mark that echo in the background behind Myles' lines?

Pretty sure I hear an organ towards the end of the Tear Us Apart bridge.

The buried solo/ riff at the end of Indoctrination. Also that little hypnosis part of the song

I'm sure others have picked up on it, but it seems to me like One Life is sort of a sequel to Slip to the Void. Where Slip to the Void talks of losing one's faith in what they've believed for so long, One Life seems to be from the point of view of someone who has found faith again...maybe not in the same form as before, but in something that gives them that feeling of hope and belonging that they once had.

"One light
Burning from long ago
The eternal flame
It's calling me back to find

One life
With so many tales untold
Living with open eyes
I discover a new storyline

If there is meaning in the prose
From the golden age
Let its wisdom guide me home
To a place

Where I am safe
A clear escape."

Great thread idea! Here are some things I noticed:

• In "Native Son", the first chorus ends with a whooshing sound that sounds exactly like the beginning of "Addicted to Pain"
• I'm not so great with music theory, but the first part of the bridge in "Clear Horizon" has an intricate drum pattern, yet I think it's still technically in 4/4 time
• In "Walking on the Sky", each chorus is kickstarted by a really cool guitar harmonic sound; the last of these goes a little out of tune, giving it a really unruly sound
• Also in "Walking on the Sky", the first part of the bridge is in a unique time signature that I can't quite decipher
• There's a lot of interesting bass work on this album, including:
  • Brian sliding up/down his strings, for example in the verses of "In the Deep", the bridge of "Indoctrination", and the outro of "Dying Light"
  • Some flashy runs during the verses of "Take the Crown"
  • The transition between the first verse and chorus of "The Bitter End"
  • The way the bass dances with the main riff in "Clear Horizon"
  • Cool bass lines throughout "Dying Light"

Those are just a few of the little things I've picked up on so far. There are tons of intricacies throughout the composition of each song, which I've detailed in my extensive review here, so I won't repeat them here, but overall this is a really complex album.

There’s something I noticed on Forever Falling, you can hear the noise of the guitar pick against the strings. I think it sounds pretty neat but I’m not sure if that was intentional.

I also like the little drum bit on Native Son that Flip does right after the ‘nothing remains’ line.

Arctic wrote:There’s something I noticed on Forever Falling, you can hear the noise of the guitar pick against the strings. I think it sounds pretty neat but I’m not sure if that was intentional.

I also like the little drum bit on Native Son that Flip does right after the ‘nothing remains’ line.

On Forever Falling, do you mean how you can hear the strumming on top of the powerchords? If so, good ear. I've heard that on a few AB/Creed songs before when they layer some subtle acoustic guitar on top of a chorus, and in those cases you'll also hear the sound of the acoustic strings ringing out a bit. But here, I only hear the strumming itself, so it's almost like they mic'd up the electric guitars directly, just to add some extra rhythmic texture with the strumming sound.

On Native son, that is a cool part! There are some neat fills throughout that song. I like how the instruments drop out during the part you mentioned, giving some added punch to the drums.

Yeah I think it’s just the strumming, it’s the constant sound of a pick whispering on the strings throughout the song.

I've listened to Dying Light I don't know how many times now, but literally only just noticed the humming thing Myles does at 1:51

Ubik wrote:I've listened to Dying Light I don't know how many times now, but literally only just noticed the humming thing Myles does at 1:51

I'll say that's pretty surprising, haha. It's not exactly all that buried, despite the layers. Still, glad you've caught it.

There is something about Dying Light going from the bridge and the line "This mortal coil into the light," as Myles really belts it out going into that buzz of layers and disarray, is really interesting to me. Knowing it's the last song of the album, knowing the content to which is being referred, really does have this chaotic, tumultuous feel of your dying light. Pretend like it's somebody who is near the brink of passing on, and all of the complex layers of atoms and molecules that make up our existence jumping into the fray all together as it works toward the light. The ugliness of the sound makes it kind of beautiful. I don't think I'm describing what I feel with it correctly, but I know what it is I'm feeling, and that perplexing feel makes for just an amazing moment from an AB song, all relative to what they've come from and done before.

If they ever go back to an orchestra for a live performance, I fully expect that particular moment to numb me. It may be the heaviest impact when they all blare their instruments to the fullest. Every guitar, violin, whatever the hell would occur there for those dozen seconds or so jumping into the first solo... it's just crazy.

Now, someone on YouTube asked if they think this song would work well as a James Bond theme. At this moment in time, I can't for sure say that it would. However, ironically, I thought that The Last Hero worked well as a Bond theme, and inserted that into Casino Royale's opening credits. Though it doesn't sync up perfectly, I do think it matches pretty well.

Casino Royale - The Last Hero (fanmade opening credits)

We'll see what the next Bond film's credits have in store for us, and maybe Dying Light can fit in there. If it does, you know I'll be making a video of it for sure.

That's pretty cool! Funny: I was just watching this interview on YouTube and the interviewer mentioned thinking "Wouldn't You Rather" would sound good as a James Bond song. I think "Dying Light" would work better but I'd be happy if any of their songs ended up in a Bond film.

I know what you mean by literally imagining ‘Dying Light’ through the song. Marks solo at the end especially just gives me mental images of a light shuttering out of existence.

MuffinMcFluffin wrote:
Now, someone on YouTube asked if they think this song would work well as a James Bond theme. At this moment in time, I can't for sure say that it would. However, ironically, I thought that The Last Hero worked well as a Bond theme, and inserted that into Casino Royale's opening credits. Though it doesn't sync up perfectly, I do think it matches pretty well.

Casino Royale - The Last Hero (fanmade opening credits)

We'll see what the next Bond film's credits have in store for us, and maybe Dying Light can fit in there. If it does, you know I'll be making a video of it for sure.

Love the way you edited it for specifics transitions in the music to match actions in the video (1:16 and 1:22 are perfect examples).

It's probably good this didn't catch on though. Watching Eva Green while listening to Alter Bridge might be too much for me. But Vesper's dead, so maybe Dying Light gets a chance...