This was the first song that was written after Chapter 1:Delirium. In fact it was ready at the time of the first album sessions, but was unrehearsed at the time. All of a sudden it became very dark and depressive, no surprise. There's a sort of "chorus" with the fastest tempo ever on Colosseum history and I can guarantee it's not that fast anyway. There's some surreal views on death, emotional decay and stuff like that on the lyrics. On the whole it's a good opener to this album.
2. Towards the Infinite
This is one of my favourites on the album. There's huge orchestrations and interesting chords in there. This time guitars play a bigger role in the mix, so I think it's well balanced and heavy enough, 'though there's a lot of things going on. This one is dark and heavy as fuck. On this one I have also managed to illustrate the sounds with shady enough lyrics, so a listener can make his/her own interpreparation of things. The ending of the song is very dramatic and cellos and trumpets fit in very well.
3. Demons Swarm By My Side
This song is an example how simple repetitive rhythm can guarantee depressive atmosphere. The song is about depression basicly with enough poetic view to fit to an atmosphere of the composition. Flutes and trumpets appear on this song in their right place.
4. The River
This is very good song, 'though it lies on the border of being "too catchy" for us crude bastards. In the studio I had an idea of doing a short acoustic opening for a song and it seems to be working. Anyway, this is very melodic, melancholic, heavy piece of orchestral doom.
On this song we dive beyond experience and into the otherwordly, space and stuff like that. So, it's feet off the ground. Each part of the song offers something different. The acoustic part is very trance-like and the ending of the song is very massive, dark and even diabolic.
The Final epic of the album. This is also one of my personal favourites. It's slow and massive, very Dooomy. Lyrics are an experiment in some sort of inverted thinking and valuation. An ambient episode that appears in the song is a good preparation for a great finale that's inspired by the Allegretto part of the Seventh symphony by Beethoven. That's "inspired", not "stolen".