Section |
Time |
Instrument |
Function |
Rpt |
Text Hint |
1 |
00:00 |
Guitar |
Intro |
|
|
2 |
00:08 |
Growl |
|
4x |
„Ghost of Mother“ |
3a |
01:06 |
Guitar/Drum |
Intro |
|
|
3b |
01:13 |
Voice |
|
|
„Devil crack“ |
4 |
01:21 |
Guitar |
|
|
|
3a |
01:36 |
Guitar/Drum |
Intro |
|
|
3c |
01:44 |
Voice |
Voice Variation |
|
|
4 |
01:51 |
Guitar |
|
|
|
2 |
02:05 |
Growl |
|
2x |
„Holding her down“ |
5 |
02:34 |
Voice |
Bridge |
|
„Road into the dark“ |
6a |
02:49 |
Voice |
|
4x |
„Higher“ |
6b |
03:49 |
Guitar |
Solo |
|
|
7 |
04:08 |
Guitar |
Bridge |
|
|
8a |
04:23 |
Voice |
|
2x |
„Darkness by her side“ |
8b |
04:38 |
Voice |
Voice Variation |
|
„Rose up to it's call“ |
8c |
04:47 |
Voice |
Drum Variation |
|
„Mother light“ |
9a |
04:54 |
Guitar |
|
|
|
9b |
05:10 |
Guitar |
Drum Variation |
|
|
9a |
05:25 |
Guitar |
|
|
|
10a |
05:40 |
Guitar |
|
|
|
10b |
05:48 |
Guitar |
Variation |
|
|
11a |
05:55 |
Voice |
|
2x |
„In time the hissing“ |
11b |
06:11 |
Voice |
Voice Variation |
|
„Incoherent talk“ |
12a |
06:26 |
Guitar |
Intro |
2x |
|
12b |
06:36 |
Growl |
|
2x |
„Ghost of Perdition“ |
12c |
06:46 |
Growl |
Drum Variation |
2x |
„Keeper of holy hordes“ |
13a |
06:58 |
Guitar |
Intro |
|
|
13b |
07:07 |
Keys |
|
|
|
13c |
07:17 |
Keys |
Variation |
|
|
13d |
07:27 |
Voice |
|
|
„To see a beloved son“ |
13e |
07:37 |
Guitar |
|
2x |
|
13f |
07:58 |
Guitar |
Solo |
2x |
|
14 |
08:18 |
Growl |
|
4x |
„Cut the source“ |
15 |
08:59 |
Guitar |
Bridge |
|
|
6c |
09:06 |
Guitar/Voice |
Variation |
|
„Higher“ |
6d |
09:22 |
Guitar/Voice |
Variation |
|
|
6e |
09:37 |
Guitar/Voice |
Variation |
2x |
|
6f |
10:05 |
Guitar/Voice |
|
4x |
|
16 |
10:19 |
Guitar |
Final |
|
|
END |
10:29 |
|
|
|
|
|
Number |
Repetitions |
Average Length |
Sections |
16 |
2 |
0:35 |
Subsections |
35 |
4 |
0:16 |
This song starts with a very short soft intro that nearly feels more like an upbeat. After that, sections 2, 3, and 4 give the listener the feeling of a verse-verse-chorus-chorus-verse structure lasting nearly two and a half minutes. But then the song wanders off into other sections.
Part 6, which follows the pseudo verse-chorus-verse setup after only a short bridge, is used as a framing device. It returns at the end of the song in 4 variations thereby framing parts 7 to 15 inside its to appearances. This is a technique often encountered on the Ghost Reveries album.
Parts 3 and 12 use the technique of introducing a riff first and then adding the vocals.
Part 13 starts with the riff introduction in 13a, then adds the melody on the keyboard while going soft (13b-c) and finally adds the vocals in 13d where it grows heavier again building up through 13e to culminate in a solo in 13f. This riff-intro/vocals/solo sub-structure can be found on other tracks aswell.
This song is just great from start to finish. No flaw here. Highlights abound. From the falsely tranquil intro 1 to the sudden driving force 2 to the rejoicing of 3 and the brilliant lick in 4 to the bridge 5 and subsequent soft framing part 6 across bridge 7 to the punctuated build up in 8 then the release in part 9 and again the build up through 10 to the urgent part 11 followed by the definitive dark side in 12 and the glimpse of light in 13 to the doubts in 14 again bridging with 15 back to the now more desperate prayer of 6 leading to the closing of the doors in the final 16 – this song is just killer.