Ocean Machine take Two

Seventh Wave (★★★★★): We start with a quote from a Lord Tennyson poem which sets the mood well, and then we're given the very first riff of the album. What does it do? It reminds me of wading into an ocean. I feel as if I'm being overcome by the waves of a fierce and powerful ocean. It's a minimalist riff that is just pure power. During the verse, Devin's voice fits comfortably within the rest of the music, and leads wonderfully into the chorus. The riff during the chorus reminds me of crashing waves while Devin is singing over it like someone staring off to the horizon, alone. Afterwards, we're treated to a more percussive variation of the chorus riff, and back to the verse we go. It remains the same with, of course, different lyrics. The lyrics tell us that Devin is ready to die, at the end of the day. He'll wait for the ocean to rise up and meet him as it rose up before, and he's not afraid. After the 2nd chorus, Devin really begins to sing, telling us that he's on his way to some unforeseen destination. The riff here is simply unparalleled. It's beauty in its purest form. And now, Devin gives us his own personal choir, made up purely of himself. The chorus comes on for a third time and Devin changes it subtly as he did during the 2nd chorus, but for great effect. He ends the song telling us to watch the ocean, and lets the guitars fade into themselves.

Life (★★★★★): A soaring, beautiful riff opens the song as drums and a new riff explode from it, and we see that Devin is optimistic. Even if he is ready to die, that does not mean that he doesn't have love for life. We're given another quote from something, and into the verse we go. It's just synth, bass, and drums that power this one, and it works exceptionally well. The verse leads emotionally into the chorus that just brings tears to my eyes as I sit here and listen to it. What else is there to say? This song is optimistic to the extreme, and it brings a smile to my face. It makes me happy, and that's something genuinely beautiful, because music, in its purest form, is supposed to make us happy. We're given a new riff where Devin asks us how long will this life last, and how bad do we need a new reminder? This then leads into the solo, which is short and sweet. Devin humorously calls it the crappiest solo ever written during live performances, but he is quite wrong. The chorus plays for the last time and we're given a new choir in the background to amplify the emotion, and the solo is quickly called back to make it all better. We're given the intro riff as Devin plays some sustained notes and falls into one last chord with one more quote.

Night (★★★★ 1/2): We're reminded of a city at night when this song opens, and it leads into a riff that engenders thoughts of driving through a city at night, which of course makes sense given that this is what he discusses right away in the lyrics. There is synth going on in the background to make the verse more powerful, and it leads into an emotional moment where the riff changes up and stays on one chord while Devin sings plaintively to us. The chorus comes and we're drenched in a feeling of solitude and despair. Devin is alone in this city, and he doesn't know what to do. The rain falls around him and the chords remind me of rain upon my rooftop. After the chorus, we're given an intense moment where Devin screams that he thinks he is closer, now. Afterwards, we're left with some guitar work that leads into something similar to a breakdown. This breakdown of sorts leads back into that intense moment which leads back into the chorus. This song is flawed, I hate to admit it.The verse riff isn't the best, even if it is extremely evocative, but the chorus makes up for that fault. The outro comes and we are falling with Devin, falling into the oddity that is Hide Nowhere.

Hide Nowhere (★★★★★): Now I feel as if I'm on a boat in the middle of the sea, alone. The riff is simplistic, yes, but works well for what it needs to do. It sounds excellent and engenders so many images that I can't even begin to describe to you, because I'm just not that gifted of a writer. There are some sparse background vocal noises that add to the feeling of the song, but for the most part, it's fairly straightforward up until the chorus. Quite frankly, this is a head-banging chorus. It's pure metal and Devin excels with that. It's catchy and infectious, and oh so original. The chorus falls out and then leads into the hectic section filled with Devin yelling at us from all over the place. It's an interesting bit that excites me every time, and when it ends, we're left with just the riff, simplified even further, and a kick drum. Suddenly, the Devin choir comes in and it ascends to the chorus which has come back, new and improved, with more vocals added to enhance it. The chorus ends with a massive synth chord and the song then leads into Sister.

Sister (★★★★★):This is a it of an ambient track with just synth noises and Devin with an acoustic guitar. It's a beautiful track that feels much like someone talking from the void to someone lost to them (in this case, perhaps their sister). It's a noisy track, but it has a special vibe unto itself, and the acoustic riff is simply beautiful. It's powerful and emotional, fitting perfectly into the ambient surroundings. There is little to say about this track, as both it and 3 A.M. act as a bridge between Hide Nowhere and Voices in the Fan.

3 A.M. (★★★★★): Though I have little to say about this track, I'd still like to discuss it. It's far more sparse than Sister but with the same elements, although instead of an acoustic guitar, we're given an interesting effect. For the most part, this is just Devin singing to us, telling us that time will be on his side. We're alone, drifting in the ocean, with this track.

Voices in the Fan (★★★★★): It opens (this will be the last time I say this) explosively, and we're given an interesting guitar effect as well as a weird electronic noise, backed up by some drumming. This leads into one of Devin's best performances of all time. Devin screams at us like he's standing atop a mountain alone, just him and his guitar. It's a wonderful effect that makes this song truly special. The guitar work is mostly in the background during the song, though, as it's more about Devin and his voice fitting into the soundscapes of the track, but that changes during what I would imagine to be the chorus. The guitars get a little more noticeable, and we now hear a truly excellent riff as Devin sings wonderfully to us. At the end, we're left with ambient noises that lead into a truly transcendental choir moment with an appealing effect ever present in the background. They're like ghosts, singing to us from the afterlife.

Greetings (★★★★★): We're greeted by a catchy riff backed up by a steady ride cymbal pattern that accentuates it. Devin comes in singing from the point of view of aliens that have found our world. It's a rather minimalist intro that leads into a gigantic mid-section. This section ends with Devin holding a note with the rest of his personal choir and falling into the intro riff. We're left with synth noises and distorted voices as we're led into Regulator

Regulator (★★★★★): This is the most metal track on the album. It pleases the ear the second you hear that amazing riff open the track. The synth work on this song makes the song that much more powerful and is well heard during live performances of the song, as it should be. The intro ends and the verse starts with Devin screaming that he is regulated. The riff has been simplified for powers sake, and I am reminded of the OM riff during certain parts of the verse. I truly don't know what this song means, but it's just filled to the brim with emotion that I can't help but relate to it. The chorus comes in and the synths are there, making the already huge chorus even bigger, and we leave the chorus, falling to just Devin's guitar and the ride cymbal as in Greetings. We break from this into an absolutely monstrous riff with the crash cymbal holding steady. This moment ends with the OM riff which then leads to the chorus for the last time. There's nothing else to say here, and we say goodbye to Regulator and say hello to Funeral.

Funeral (★★★★★): This is the first track of three that many people tout as the greatest songs of all time, and I can't blame them. We start simplistically with some ambient noises and a simple guitar riff. It's a somber riff that is just packed with emotion, even in its simplicity. This riff then launches into the meat of the song, where Devin gives us minimalist guitar work over his simple chugging for magnificent effect. The song, as most others do from this album, evokes imagery of the ocean blue, and then Devin starts singing. This song is about an awful experience that Devin had in his teenage years. A friend of his, someone he didn't know too well, was mugged and murdered in the streets. Devin was close with his sister and their family asked him to speak at his funeral. So, Devin is speaking to us. He is telling us how this horrible thing impacted him, and all we can do is listen. He screams in pain and despair, lost, and not knowing what to do. We're led into the mid-section which makes me feel as if Devin is lost at sea, underneath the waves, and it all falls into just the drums, that riff, and seagulls (as well as a subtle acoustic guitar that I just heard for the first time). Even then, that falls out and it's just the bass, drums, and seagulls (as well as some sparse ambiance as always), leading us into the chorus. It stays quiet, under the water, but it soon gives way to a cathartic scream where the guitars rise with him, and Devin is done. He has nothing more to say. The song ends with one final riff as well as those seagulls, and we find ourselves at Bastard

Bastard (★★★★★): The album, at its core, is about loneliness and solitude. Devin is lonely, and this is how he deals with it. Bastard is the height of that lonely feeling, and it all comes crashing down the second the main riff opens the song. When you listen to this song, it is no one but you and the music, no one else. The feelings of loneliness are almost overpowering throughout. Devin begins to sing of being in the city. He then shouts of grey people staring into the static sky. He sees a dead world filled with nothingness, and he cannot escape it. He sees the hopeful ones, and he does not care for him, and then we are given emotion in its purest form. All he wants is to not be left alone, and as he gives us that realization, we are in the chorus. Throughout the song, there has been an ever present repeating of a double piano note, and the riff has been at the bottom, holding everything up, as Devin has been speaking to us. The chorus ends and we find ourselves at a beautiful solo, and here we are at the chorus for the last time. It remains the same except that Devin gives us one of his best screams to cap it off, falling into a new, more percussive riff. This song, instead of giving me the feeling of simply drifting in the ocean, makes me feel as if I'm drowning, being totally enveloped in the waters. The first part of the song ends with Devin singing sadly to us, finishing it off by telling us that he just wants to sleep, and here we are, at the greatest moment in music. Gone now, in a field of green, gone where feelings go, and we are there.

The Death of Music (★★★★★): We start quietly with a drum machine and ambient noises. It stays this way for awhile, creating a special mood unlike any other song. This song is pure originality, it is unique, and it is incredible. Devin whispers to us, saying things that only make sense to him. Suddenly, Devin starts singing. He gives us a taste, and the ambiance changes to fit with Devin more suitably. His voice is drenched in emotion. I can feel everything Devin is feeling in those words, it's so emotive; but, as quickly as it started, it stops and falls back into what it was before. After this persists, the music kicks in again, and Devin is yet again putting all he has into what he says, and the synths slowly get more powerful, and suddenly Devin screams as the synths deepen and follow his voice. It's the chorus, and I just don't know what to say. I can't think because it just entirely envelops my head. Devin's vocals are unmatched here, and then suddenly falls into a rather tense moment. Devin starts screaming, and holds it for awhile, then he raises it higher, higher, and higher, until he stops and it all falls back into the simple drum machine and his whispering. Soon, even the whispering stops, and it's just a guitar far in the background with the drum machine. But then, Devin starts singing once more, but it's something different. A synth follows his melody to give it more power, and we hear that Devin is afraid. He is asking something, someone, to just stay with him. He doesn't want it to go, and I can feel that deep within my soul while he sings. Suddenly, the synths get more expansive and we hear a guitar somewhere in the mix adding to it all. It gets larger and larger, filling your head until there is nothing but the music. This is pure emotion, this is music, this is beauty, and here we are. For the last time, we're at the pre-chorus. Devin is barely holding himself back, and suddenly, he unleashes an ear-piercing, heart breaking scream, that launches into the chorus. This time, it has changed, and Devin gives us his best performance ever. This moment, this melody, it's Devin standing atop the world, looking down on it, and wondering where he fits into it, and it all falls away, into the drum machine, for the last time. We hear a recording of Devin in Japan, and he talks with us for awhile as the song fades out.

Things Beyond Things (★★★★): This is the last song on the album, and it serves as a message from Devin, telling everyone not to worry about him, that his issues, his problems, those are just things inside of him that he will deal with on his own. It opens with a pleasing, mostly-clean riff that pervades the mind. It does this for awhile, after the drums come in around 20 seconds in, and soon Devin begins to sing for the last time on the album. He sounds different, almost vulnerable. The chorus comes in and Devin tells us to not try and get inside his head, because these things inside of us are just that - things. They're not important. The bass drones on under the song as the verse comes back. The chorus comes back louder and with more vocals, and the bass begins to get more complicated, and so does the guitar. Suddenly, we find ourselves at the end, and the song drifts out. Of course, in the dead silence of the album, Devin gives us one last ear-piercing screech, serving as a release from the album.

Shit, that was probably some of the most pretentious garbage I've ever written! At any rate, this album just does that to you.