Thoughts on the Adventure album

My Thoughts on the Adventure album
Side One of Adventure
Isometric is the first song; it begins the album with an undulating tone. It doesn't seem like much, but the tone gradually builds up in terms of intensity. It seemingly reaches as though it were a higher plane, and it moves to and fro, undulating, falling and rising, rising and falling,
You're On features another singer, making it the first of five songs to do so. In the song, the singer questions the loyalty of the person whom he is singing to. He knows not if the person he is singing to will be with him or will be against him. The voices move with the singer, and there's a sense of a sentimental longing, of a desire to head back to what once was, but the song ends with the singer not knowing if the person has returned back to him or has chosen to disassociate himself from him.
Ok seems at first glance, ok. It's more indifferent than the second track, which was more of a wistful and sentimental longing. You could even consider it kind of a filler track, since the lyrics of the song largely are comprised of the titular word being uttered multiple times, but the track does serve a purpose. It's a sort of refresher track, lighter than the second track's longing, reminding that even though he may not know who the person is, that he at least is okay, and that things still continue. In that sense, it's important to the overall character of the singer.
La Lune, much like You're On, features a collaboration, and it also heads back to a sort of nostalgic longing, a wistftul remembrance of days gone by, but unlike you're on, it feels somewhat more positive, as though the singer has somewhat rebounded from the melancholy longing he had in You're On and has become a bit more stable. He's still sad, he still longs for a return to a better past, but things are better than they were before.
Pay No Mind features a collaboration and also goes back to a longing for the past. Unlike You're On or La Lune however, it looks back at the positive aspects of the relationship between the singer and the person who he was with. It looks back on the past, but instead of looking at it through the lens of melancholy, it looks at it through a happier lens, almost as though it were celebrating the time he spent with the person as opposed to mourning the fact that time had passed. Due to this, it is more positive and upbeat, and contrasts the two songs nicely.
Beings goes back to being moodier. It's a more atmospheric track as the musical accompaniment in it is slower, and feels more like a longing. It shifts from merely longing, however, to a determination to spend the rest of his lifetime with the person whom he most wishes to be with. In other words, rather than the person merely pining, rather than the person merely expressing a desire, he is determined to fulfill it, to give to his beloved his full time, dedication, and sacrifice.
It's a pretty heady ending to a first side, but it does suggest that the second half will be emotional, committed, and most importantly of all, passionate.

Side Two of Adventure
Imperium is the first song of the second side. It's an instrumental, much like Isometric, and it, also much like Isometric, undulates and undulates, rises and falls, falls and rises, and overall, it's quite similar to Isometric in that it, with its undulating beats, sets the stage for the side to continue on.
Zephyr is the second song of the second side. It goes back into a sense of a sentimental longing, in which the singer longs for the person whom he loves, but in that longing, he reminisces of the love that they once had for each other. That love is no longer present, but he holds on to the hope that it might someday return to him. He hopes to have it come back to him, for him and his beloved to get back together, and for their love to be like the love they had in their beginning, a love that was at once exhilarating and liberating and captivating and ensconcing, but that held in it promise and hope for a better future to come.
Nonsense serves as the third track of the second side. It is a collaboration, and in that collaboration, there is this sense of a journey, of a search for the person whom the singer once loved whom no longer can be found within his life but whom the singer nonetheless hopes to make part of his life once more. It's a nonsensical feeling, hence the song, since it's unlikely that the past can ever return, but nonetheless, that inkling of hope, that sense of longing, that sense that the singer, as much as he and his love have fallen, that he is the captain of the ship of his affection, and that he can bring it back from sinking in the waters of the dead.
Innocence serves as the fourth track of the second side. It, like Nonsense, is also a collaboration. The instrumentation is kind of peaceful at the beginning, almost like those chimes that undulate in the wind. Before long, however, the instrumentation changes slightly as the vocals come in. An almost dissonant quality pervades through the work as the singer once more longs and sings, but this time, he longs and sings so that he can forget, so that he can forgive, so that he could head past the loss that he faced, so that he could be more than a mere victim, but instead enter into another state of being. He longs and wishes and wishes and longs to someone for the ability to head somewhere else, but it does not seem as though that some other place would come to the singer anytime soon. It is that sense of an emerging desire to head back to what once was, but the inability for that desire to successfully occurs, that pushes forward the following track.
Pixel Empire is another instrumental. It, much like the beginning of Innocence, is calming and soothing, but it conveys a melancholy tone, almost as though the singer has realized that in spite of his desire to head back to the past, to reclaim that which he once held dear, and to return to that younger and more innocent state with that person whom he loved, that all of that ultimately proved to be in vain. He wallows in despair in the beginning, seemingly as though he is trying to cope with the reality of the situation, but as the song goes on, it starts to pick up in intensity, suggesting that the singer has managed to come to grips with the loss of this person whom he once held dear. He may never be able to erase her from his memory, but the time he spent and the feelings of passion and joy and intense excitement that he had with her would remain in him and help to liberate him from the darkness within. It is that darkness which he desires to escape by heading back to the place where it all began.
He heads back home, and Home is the last track of the album itself, which makes for a rather nice transition into this. The song itself starts out with melancholy. It seems as though his desire to escape the darkness by heading home has backfired in that he seems to have once more wallowed in the darkness, in the spectre of dark nostalgia that seemingly haunts him throughout the majority of the album. As the song passes on, however, he once more becomes happier. He has learned in spite of everything that in spite of the fall he experienced, in spite of everything that he been through with the person whom he had lost, that he, within his own self, possessed something greater--a will, a fervent, urgent, passionate desire to carry on in spite of his own emotional loss. He does head home. He heads to that sense of adventure, that passionate, intense desire to carry on, and though the adventure that was his relationship with this person whom he loved and cherished had ended, there were other adventures for the singer that he had yet to find.
The second side fulfills the indications from the first side of a passionate longing, of a passion that pervaded the fiber of the singer. However, it did not indicate that passion would continue and pervade and remain in him after the loss of the person whom the singer adored. That intense passion and desire would simply be moved to pursue new adventures in the broad, open field of life.