With:	Nicodemus
Conducted by:	Undercraft
Published:	26.05.2004

01. Something In The Walls
02. Nightfall Bares My Burden
03. Afterglow
04. Harlot
05. Of Pride & Necessity
06. The Lazarus Syndrome
07. Within The Glow Of Embers
08. Deepening
09. Shards Of A Bitter Night Wept
10. Benedetto Sia

The album does follow a loose theme concerning how people can sense when something about them is different from others, and we grow to accept those things in time. Each stage of that discovery is touched on in some way by each song. Putting a supernatural spin on the lyric structure gives the CD some great atmosphere and opens the song to listener interpretation. It's certainly more of a loose theme rather than a concept, since I usually write tracks in bunches and in lyrical progression. In general, the album seems to represent more of a look at where we were musically, and where I was as a songwriter during a time of new success. I don't personalize my music too much and am definitely my own worst critic. So this synopsis is more of a look at our progression because it was such a good learning experience. The entire CD is to me a point in our history and point in our lives both personal and professional. The meanings of the songs take a backseat to the fact that we learned so much about the industry and I learned more than expected as a writer and arranger. Perhaps the theme reflects this process. Until I wrote all of this out, I never even thought of that before. But it may be true.

1. Something In The Walls

Lyrically, it opens the theme with wondering why is there this growing feeling that something isn't right. Why am I not responding to things in the same way as others? There comes an age when we start thinking for ourselves and evaluating things in our own way, and when the general consensus of the population is nowhere near the clear cut obvious truth to you, how do you react? Probably inspired subconsciously by my political affiliation with the Libertarian party as well as my atheism. I hate writing in obvious ways as I believe that my role is one of an entertainer, not a preacher or activist. So touching on a theme while keeping things in a fun, gothic, and metal perspective is what we are really all about. This was intended to be a heavy and rocking opener and I think it delivered. "Walls" is the first track from Nicodemus that touches on traditional metal riffing and soloing, things that were sorely lacking from the Nicodemus sound. This was Matthew's first attempt at working with us and delivered a great solo. The tip of an iceberg that's on the way.

2. Nightfall Bares My Burden

The lyrics actually deal with those strange moments when a current problem, question, or conflict going on in your life seems substantially worse at night than it does when the sun comes up. It keeps you awake, keeps you thinking, or keeps you worrying. I suppose with the gothic manner in which we present material and atmosphere, the more simple surface reading of a vampyric nature is understandable. There are references that draw similarities for the sake of mood and visualization. The driving piano line and focus on melodic vocals make this one a great second chapter, though in my opinion, it may go on a bit long. Perhaps one of the better structured songs we've done. A fun one all in all.

3. Afterglow

This is my favorite track on the CD. It's probably the most progressive song and certainly the most original arrangement. This track deals with the rejection one faces after expressing their differences. The first line "Seething under the violence of your disregard" sums it all up nicely. The lyrics play a bit more loosely around the theme for the sake of good one liners and mood creation. Not much more I can say about the lyrics. The music is among the best on the CD and represents a sort of revelation on my part on how to best use tastes and influences. Heavy riffing, moody strings, progressive transitions and unexpected twists and turns. The end of the song, the climax in the third movement, is one of our better triumphs. Andrew's drumming in the final few minutes is outstanding. He accomplished some amazing tricks that still make me scratch my head. I only wish the production was better so it could be fully appreciated. One of our best tracks overall and will end up as a long time fixture in our live set. This is the first song out of the Nicodemus catalogue that made me stop and think "I believe we really have something here". I'm proud of this one.

4. Harlot

I strayed a little from the theme here, but not by much. I had been toying with a beautiful piano line for a while, and really wanted to try and use it in a "death metal ballad" experiment. After writing this song, I was determined to try adding a female vocalist in an old Theatre of Tragedy style. I should have only brought Tamar Yvonne on board for a guest spot on this one track, but shit happens. Everything really clicked here. The simple, catchy, and moody arrangement, as well as Tamar's good performance, makes it a favorite. The lyrics are quite nice. Gothic and poetic, though the theme gets pushed back. Originally intended to address the theme by exploring how revelations in one's thinking can affect a relationship, it quickly transformed into more of tragic love song. It wasn't an intentional change, but when things are working you just go with it. The theme is still represented, but just hovers in the background. This track was also the only real success with Tamar. A great friend, and good singer, but we both overestimated the situation.

5. Of Pride & Necessity

Not much to tell here. Originally intended to be part of "Lazarus", we chose to separate the tracks in order to give fans a choice in skipping through it. Just a classically inspired interlude. Very moody, pretty, and a little showboat ending with the descending run at the end.

6. The Lazarus Syndrome
I'll address this in two parts.
1) The music - leaning more toward progressive arrangements and musicianship, it was the right time to write a romping power metal influenced track just for fun. The riff was actually Nightwish inspired string part that I was keen on using in another track. This keys riff and Matthew's solo ideas were so strong that it had to absolutely stand on it's own. Being a longtime fan of instrumentals, I was happy to give it a shot. In a moment inspired by Dream Theatre's AWAKE album, I threw in some background samples that addressed the name of the song. The vocal sample/effect part didn't come through all that well, but it hardly brings the song down since it's so short. That would be the only real arrangement flaw. Fun, fast, and furious, this has been a fan and band favorite.
2) The title - in Christian mythology (I refer to it as such not to offend, but because I am an atheist) Lazarus was the brother of Mary and Martha of Bethany. He was resurrected from the dead after four days. The miracle insighted the Jews to put Jesus and Lazarus to death. "The Lazarus Syndrome" is the state of being through a revelation that incites the masses against you. This is how it ties in with the theme of the CD. While I am not a believer, the name carries impact.


7. Within The Glow Of Embers

Eccentric to say the least. The lyrics are an overly fanciful way of approaching the next step in the theme which is finding a justification of beliefs in a world of compliance to a norm you can't accept, yet losing that source. I wrapped it all in lyrics that carry the idea of loss to the forefront in order to avoid predictability. Anyone who thinks and lives in a particular way has someone or something they look to as a guide. There will always come a time when you have to address your own ideals and realize that they live independently from that source. Perhaps it's the realization that right and wrong can exist without a god, or a parent, or an idol of any kind. I admit it's a weird topic, and even weirder presented in this manner. Musically, this is a love it or hate it track. The synth hook, the de-tuned narrative vocals, and almost pop rhythm is a strange brew and a big risk from a songwriting perspective. Intentionally challenging though. Metal fans who have a little bit of British new wave in their collections usually love this one. Metal purists are understandably not so kind. Duran Duran fans unite!!

8. Deepening

I must admit that tracks and 8 and 9 are filler. What started out as a good vocal melody descended into an abyss of mediocrity. Under pressure from the record label to produce on a deadline, the song only hints at what it could be. Lyrically it's premise is a sort of coming to terms. Remembering all that lead to your differences or uniqueness. It barely succeeds. Not a track that will ever find it's way to a live set. Forgettable and inconsequential.

9. Shards Of A Bitter Night Wept

If track 8 is mediocrity personified, then "Shards" makes it look ike genius. This is probably one of the worst efforts. Before Dark Symphonies became the label of choice, we were negotiating with a black metal label who wanted us to follow a certain path. I had been working on an arrangement based around a relatively good guitar lick and banged out a sample black metal track for the label to hear. Again under pressure when we signed with DS, the song was brought on board to fill space and give some connection to the first album. Not a good idea. Insipid tripe. Lyrically it does achieve a thematic goal by expressing the climax of anger over how uniqueness can be hunted down and threatened. Even the lyrics were a short cut under pressure and were reworked from a rejected track during sessions for the first album. If the track wasn't good enough for that CD, what the hell made me think it would work on this album?? Bands will always have songs they look back on and wonder what the hell they were doing. This is mine.

10. Benedetto Sia

Another eccentric effort. Japanese themes run throughout this one. Very atmospheric. I love the music even if Asian inspired pieces are an acquired taste. The lyrics are the conclusion of the theme as they present the final acceptance. Through all of the tribulations there is a balance struck in the end. The lyrics are OK, a bit rushed, but the melody is not befitting of the music behind it. The arrangement of the strings and the charming Japanese melody are too strong for the lyrics and vocal performance. Tamar sounded forced on this track and I regret the choice to use her here. I had written the song to be sung only by a female voice with no male interference. Unfortunately, I couldn't get the performance I wanted and my voice alone sounded awful on such a song. I combined the two to shaky results. The music itself remains one of my favorites, but the final mix was mediocre at best