Sorry for the wait. XD
So, the basic sound of this is heavily inspired by industrial rock bands like Orgy, Zeromancer, and Marilyn Manson. The difference is that instead of using synth, it uses a symphonic orchestra. It would use this in the way that industrial rock bands—or even something like Linkin Park—use synth. You might think that it might sound a little like the symphonic metal of Dimmu Borgir, Nightwish, or Cradle of Filth, but the sound would, in fact, be quite different. It’s hard to explain, but like I said, the influence is primarily industrial rock. It wouldn’t be completely unlike, say, Dimmu’s “Progenies of the Great Apocalypse,” but none of the songs would be black metal—though some would be fairly harsh, the intensity would be more akin to something like Slipknot's early days. The orchestra would sound a bit like something off of a film soundtrack, and it would get a very strong emphesis. It would have a creepy dark fairy tale type feel akin to the soundtrack to “Sleepy Hollow,” except crossed with the epic-ness of “The Lord of the Rings” or “Star Wars” soundtracks.
The main vocalist wound generally sound almost like a female version of Jay Gordon of Orgy—strange, alien-like, sensual, sexy, somewhat operatic. For the harsher songs she’d be able to do some mildly screamy death grunts, and oftentimes she would make strange, almost-inhuman sounds, like the singer from Dir en grey. She’d also have a British accent, and would be seriously, seriously hot. In the videos for the more “fun” songs, she’d do gothic bellydancing. (Shakira would have nothing on her.)
Backing her up would be the chorus that was on the “the "Obscure 2" soundtrack” soundtrack.
The main guitar would be tuned to sound like the one in Rammstein’s first album, particularly in the track “
Rammstein.” (However, the songs would NOT follow Rammstein’s typical song formula, which is like this: Singer sings something, guitars go "chugga, chugga-chugga-chugga, chug"; Singer sings something, guitars go "chugga, chugga-chugga-chugga, chug"; repeat another 2 times, then have the chorus. Then repeat that whole thing again a few more times. Lol. Frankly I find this a little boring, so the songs would NOT be structured in this way.)
Also it would have really cool cover art—maybe the band as photographed by Stefan Heilemann (http://www.heilemania.de/). XD Or something by Dave McKean...I dunno.
There would be 17 tracks total. Every song would be another chapter in the story, which would concern a succubus. The highlights:
-Track 1 would be an build-up song that would start off creepy and build and build up the emotional intensity, a la NIN’s “Somewhat Damaged,” A Perfect Circle’s “The Package,” or Sleepytime Gorilla Museum’s “Sleep Is Wrong,” until it became an overwhelming mess.
-Tracks 2 and 3 would calm down a little, bringing a little more order to the chaos of the first track. Track 3 would probably be the sexiest-sounding of the songs. The lyrics would be darkly comic.
-Track 4 would have a structure like Dir en grey’s “Obscure,” starting off scary, dark-as-shit, tone, but ending up seeming very sad, and oddly human despite the almost-alien tone to it.
-Track 5 would basically be a power ballad. The orchestra would really come into play here, with the guitars taking the back seat, except in the chorus. It would be calmer, sweeter, and more romantic than most of the rest of the album. It would also have a piano in here.
-Track 6 would start off with some harsh guitar use but have a more heartfelt chorus. Hard to explain how it is in my head.
-Track 7 would put the chorus front and center, with them singing the dramatic chorus of the song. The main vocalist would sing the verses but still take the back seat for this one. This would sound every bit as epic as, say,
Duel of the Fates from the Star Wars soundtrack.
-Track 8 would be more of a “fun” affair, like the first two tracks, balancing it out again. It would most closely resemble Track 2. It would be fairly poppy, and would bing back the calmer, sweeter, aspect, but it would be darker and sadder than Track 5. It would be one of the few songs with a traditional structure of “verse, chorus, verse, chorus, bridge, chorus.”
-Track 9 would be a short song driven by its comical, lewd lyrics. It would briefly tell a fable in a poetic, rhyming fashion, but it’d be a song, not a poem.
-Track 10 would bring back the creepiness. The verses would be subtle and creepy and ooze that dark fairy tale atmosphere, but the chorus would be intense and brutal-sounding metal. The intensity would reach a point where it was nothing but pure, chaotic noise in the last 5 seconds.
-Track 11 would be an intense metal song, probably the only “normal” metal song on the album. Think something along Mushroomhead’s “Before I Die” or Slipknot’s “Sic.”
-Track 12 would sustain the harshness of Track 11, but with a slightly slower pace, and this time with more of an emphesis on the orchestra. The choral voices would again be front and center for certain parts of this one. It’d be around 5 minutes, at least 2 minutes a bit longer than Track 11.
-Track 13 would have 2 distinct halves: the first being calm and creepy, with a chorus of its own. The second time the chorus appears it is followed by intensity—beats quickly build up and the song changes tone. Hard to explain. Heard “
Hands in the Sky” by Straylight Run? It’s like that.
-Track 14 would be a really creepy-ass cover of Howie Day’s
Collide.” The original song is more of a happy-sappy affair (not that that’s a bad thing); this cover would turn the collision into something freaky, and frightening. Think Marilyn Manson’s cover of “Sweet Dreams (Are Made of This),” but brought to a whole ‘nother level.
-The epic Track 15 would be best compared to a metal version of Oingo Boingo’s “Insanity,” with a similar sort of song structure and an emphesis on the lyrics. This one would be like the final battle.
-Track 16 would be sad, and bare, just the main vocalist sounding sad as hell on the piano. Other tracks would have sadness, but none of it would match the pure desolation of this one. Think Evanescence’s “The Last Song I'm Wasting on You.”
- Track 17 would be pretty depressing, too, but in a more conclusive way. It would be around 6 minutes long, and have some harsh moments, encompassing the overall sound of the album. Most of it would just have the orchestra. Think Zeromancer’s “Germany.”
Totally dirivative, I know. But whatever. XD
14 Oct 2007, 4:48 pm
