‘Travis Orbin (This Is a Self-Titled Record)’ Individual Song Breakdowns ____________________________________________________________ Individual Song Breakdowns “Exordium” (drum transcription) The record opens with the closing stabs of “Flophouse” (from the ‘Fall and Response’ EP), and a reversed-audio chord swell, which is the first chord of “Exordium”. A perky, swing/rock song with barbershop-quartet-influenced vocals and some cheeky lyrics in the middle: basically, exactly what the title indicates. Lyrics: Doo wack-a, wack-a Doo, wack-a doo, wack-a Welcome to the album Hope you savor If you don’t, there’s the door Your time is no longer yours Doo wack-a, wack-a Doo, wack-a doo, wack-a “S.O.F.” (drum transcription) I have a recollection of writing this on a tour bus en route from the east to west coast to kick off the 2014 Rockstar Mayhem Festival. I think I had it clinched before the start of the tour. I wrote a few tunes for different releases throughout that jaunt, all of which I’ve mentioned in previous ‘song breakdown’ pages. Anyway, this is about a bitter, dejected old man that comes up with excuses to justify why he never chased after his dream. It’s either rudely or pleasantly—but undoubtedly—interrupted by a pretty wild, proggy bridge featuring a five-octave marimba. After Gabe did engraving for me for all of the additional instrumentation, we realized that I had inadvertently written for such an instrument. So, I randomly Google-searched “five octave marimbist” and found Gabriele. The internet is cool sometimes. Lyrics: YEAH The days are gonna find you And they're gonna bind you Admit that you gave up But you're braver 'cause I never got what I wanted outta life I may've stopped short or not even tried 'Cause I'm a stupid old fuck All those other people They will never equal You've got it sorted out They've got all the clout I never got what I wanted outta life I may've stopped short or not even tried 'Cause I'm a stupid old fuck “Mise en Scène” (drum transcription) This one ended up becoming one of my favorites on the record. Gabe pushed me to sing the chorus an octave higher, which happened quite often in our sessions. It yielded a much more explosive, hooky effect that nicely contrasts with the moody verses. I am honestly not sure what I was after lyrically, it kind of spilled out of me. The visual it provides me with is one of various scenes interpolated, as in a film. This, in turn, prompted the title. There’s a quote from “The Indomitable Hoi Polloi” (‘Projects III’) at the end. Lyrics: When we were innocent We were both so recreant Milksops, tick-tock, padlock Stop that clock Here come the cops No way that you know what you're after We all devolve into laughter The urgency with which we both scramble Precludes that your brain shall ramble When we were innocent Our hearts melded like cement Induce translucent intent Throw off our, throw off the scent No way that you know what you're after We all devolve into laughter As you continue to falter I'll accuse and choose to palter We're trammeled in the insoluble Nebulous fabric of your crucifix On and on, we wane and fawn Opened wide for the fall of pantheon When we were innocent This time won't be different Magnified, terrified Begrimed for the, the next crime “Erumpent Reveries” (drum transcription) The only co-written tune on the record, it merely started as a joke between my pal Elliot Coleman and myself. He’d strum that opening riff, sing the first line with an ‘emo’ affectation, and we’d crack up and have a good time and move on. But one day I mentioned wanting to transcribe the first two riffs into Guitar Pro, and did just that. Then, I added to the arrangement and wrote the rest of the vocal melodies. I did this after receiving Elliot’s permission, for which the only stipulation presented was that he was to sing on it. Fast-forwarding, he still allowed the material to be used but rescinded his interest in vocal tracking, prompting me to ask another pal (who doesn’t have a dissimilar voice), Sacha Mullin. I am grateful for both of these gentlemen. The song is essentially about a dream, which is only alluded to via “Kiss me before I wake up”. It’s written from the perspective of the dreamer, who can control the dream, and chooses to time-travel to various destinations, meeting his soulmate in each stanza. Check out those quad-tracked guitars at the end - nice touch, Ryan! Lyrics: As I walked into the garden, said whoa And I came in through the window As I met you on the terrace, in Rome And my mind has ceased to limbo Sometimes I’ll say it enough Sometimes I can’t say it enough Sometimes I’ll say it enough Sometimes I can’t say it enough and These autumnal nights are a prize In the rind of the collective space of life Floating about in hyaline Spreading sands of whatever time I would like Floating about in hyaline Threading strands of adamantine life as I deem right As I walked into the garden, said whoa And I came in through the window As I met you on the rooftop, at home And the marquee blinked in chrome Sometimes I’ll say it enough Sometimes I can’t say it enough Sometimes I’ll say it enough Sometimes I can’t say it enough and Kiss me before I wake up Kiss me before I wake up and It’ll hurt before it gets tough Opened up the scene of repercussion, contiguous Floating about in hyaline Spreading sands of whatever time I would like Floating about in hyaline Threading strands of adamantine life as I deem right As I met you on the geodesic dome And the sky is coated neon The cracks split into an iridescent hell But you’re mine and you’re a nonpareil “My Lethean Glue” (drum transcription) Initiated in France on a 2014 European tour in support of Machine Head, thus the line with “baguette” in it, heh. I love the vocal doubles in the chorus, which Gabe had me do; reminds me of Elliot Smith. The slide guitar solo that I wrote was a little rowdy, and Ryan tamed and improved it. I composed the outro on the spot. I had recently purchased a cheapie Bontempi organ and felt that a segue between this tune and the subsequent one was needed. The last chord features—if memory serves—all of the notes that open “Animadversion”. The lyrics in “Rewilded” (‘Fall and Response’ EP) are quoted here and well-expanded. They’re mostly about escapism: by means of… ? Lyrics: So here I sit, so desperate, ululant Can you believe? I could have been so stupid, excluded Am I naive? All of these people are patently selfish Aching to the core for a door Away from the petty squabbles and bullshit For that life, I'm unfit I wanna run through an empire view Rewilded, city anew Plagued by you, my lethean glue And uh, so here I sit, so useless, excuse-less In my abandonment Guess I'll just sit and have a baguette Searching for the core and You'll hum along, sing this dumbass song Peeking from the floor of the door I wanna run through an empire view Fields of gelid glue, dearth of you I wanna run through an empire view Rewilded, city anew Plagued by you, my lethean So here I am, just waiting, moldering Am I alone? Vexation's ductile, fulgent, mephitic In my abandonment All of these people are violently selfish Speaking from the core of my door I've gone inside, I don't ever wanna come out Not for any amount Obscured in my defense, helplessness Escaped from the plane of graven hate I wanna run through an empire view Rewilded, city anew Plagued by you, my lethean glue “Animadversion” (drum transcription, percussion overdub transcription) One of the more intense cuts on the record, this one’s all over the place both musically and vocally. The tentative title (when I used to do those) was ‘Sleepy Bungle’, for I was picking at it on and off between naps in the back of a van whilst on tour, and as I was also attempting to channel some Mr. Bungle influence. Speaking of, the intro/A section vocal approach was an attempt at that breathy, mixed voice that Patton does so well. The choruses were an attempt at a Devin Townsend-esque fry scream. I particularly like the skittish-sounding segue riff section that’s after the second chorus and also acts as the song’s outro. And the glitchy vocal effect layered over the outro, which I came up with only towards the tail end of mixing. The lyrics are about encountering a cantankerous, careless, captious person/thing hellbent on inflaming and offending. In the face of this cad/monstrosity, it is important to turn inwardly and calm yourself, lest you imbue the contrarian with further power and control. “Menticide” (‘Midnight Acolyte’) is quoted. Lyrics: Do you know the quickest way out of here? Confer, demur, occur, my ignominy Hide the shame of your desultory blame I will take my egress, and you Go fuck your entire self, I'm so offended I don't know what to think Inadvertent imbuing of power Go fuck your entire self, I'm so offended I don't know what to think This transfer of control is a cruel sync Midnight shambles in, fall foul of this damn town Midnight acolyte, we abhor the detour Spite Saturnine, I don't know know why Temper my rhyme Visitant has wasted my time Go fuck your entire self, I'm so offended I don't know what to think Inadvertent imbuing of power Go fuck your entire self, I'm so offended I don't know what to think Execrable conversation has stunned Midnight has removed all traces of this infernal town Midnight acolyte, when we shine we'll burn bright Tonight Do you know the safest way out of here? Biding your time, you won't take my entreaty Maunder on, scenario of your thrall Deflate, inflate, deflate your babel of shit Go fuck your entire self, I'm so offended I don't know what to think Can't say I expected to play this game Today, you blame, gainsay, foray Magical capital bacchanal Go fuck your entire self, you're puritanical “Infatuated Flâneur” (drum transcription) An early composition within the timeline, this was commenced on 11MAY14, only two days after “King Katabasis”, which was the first tune that I wrote. Honestly, this is probably the dumbest and cheesiest tune on the record. Just listen to that stupid, ridiculous first verse - Gabe and I were cracking up during vocal tracking. I can recall trying to channel a quirky 90s vibe, à la Sugar Ray or something along those lines. However deeply embedded, there must be a part of me that digs this stuff, else it never would’ve emerged. Lyrics: I cannot move and this is a problem Because I want to dance Paralyzed by your beauty Paralyzed, I am inert Frozen in timidity Paralyzed, I am so deterred I’ll muster the nerve to approach her Commence: dance Paralyzed by your beauty Paralyzed, I am inert Frozen in timidity Paralyzed, she’s the perfect flirt I know I could never have her I hope she realized how much she lights up Inside her eyes resides paradise In me no longer lies purposeful might My vanquished plight A delightful sight Paralyzed by your beauty Paralyzed, I am inert Stand there, lookin’ all pretty I’m not even that witty Frozen in timidity Paralyzed, she’s the perfect girl “Flying to Iceland” (drum transcription) Based on a true story, and even begun on the plane ride from somewhere in Europe (probably Frankfurt) to Iceland. This was the end of the Machine Head tour mentioned above. My band mates knew a promoter in Reykjavik that was still putting on shows, and he whipped together something for us, as we had a 24 hour+ ‘stopover’ between—I believe it was—the Keflavik airport and home. We arrived late for some reason (can’t recall why), nearly missing our window to make the show within reason, and he scooped us up and we went inside a small, dingy basement bar, wading through the shoulder-to-shoulder crowd and proceeded to set up. It was a hell of a gig, and afterwards many people came up to me that were aware of other projects and sessions that I had partaken in outside of DH. It made a great impression on me, and a wonderful memory that I still cherish. And I still “yearn to return”. This jam features Gabriele’s second and last appearance on the record. He did so well that it partially prompted me to compose ‘Silly String III’ in 2021. Oh, and some facets of the lyrics had a little hot sauce, e.g. we didn’t “pay to play”, but we also netted nothing on the tour and between personal expenses it was more like a vacation but with a lot of hard work, heh. This is a tough business, to put it lightly. Lyrics: Having a mundane conversation On the airplane while we were flying to Iceland, I’m so excited I’ve never been there Seein’ more, on a tour Pay to play, that’s okay Seein’ more, on a tour Loadin’ gear, every day I give it all, every night This crowd will get a show tonight I can’t wait, can’t wait to get to where I’m going in Iceland I don’t know what to anticipate, but it’ll be great I can’t wait, can’t wait to go and play a gig in Iceland The plane is now landing De-board, go collect your equipment for the show Where the fuck is everything I’m so confused Where are the longhairs? Oh, right there En route: baggage claim Seein’ more, on a tour Pay to play, that’s okay Seein’ more, on a tour Smackin’ drums, every day Rock: we bleed ourselves every time There might not be a show tonight We landed too late No Hump the gear in the promoter’s car We then dashed through the crowd Scrambled setup, fumbled count-off Here goes nothing! Basking in the afterglow of the show These people know projects I’ve done outside of the band WHAT an escapade to play I yearn to return “King Katabasis” (drum transcription, percussion overdub transcription) This came out sounding surprisingly fresh, despite being the oldest tune within an already-ancient pile of material. I can remember originally trying to capture an ‘Angel Dust’ vibe, which carried through to the chorus vocal—was definitely going for that croon-y “RV” style. The vocals were a riot to track. I had the characters for each stanza in mind prior, and Gabe helped to dial in the whispery/breathy approach in the beginning of the second. I added the sound design elements and organ (the Bontempi again) in the bridge during mixing; the crunchy-sounding stuff was construction (more like deconstruction) taking place outside of my studio. The lyrics evoke feudal times and the execution of a corrupt king. The vantage point changes throughout, but is mostly from the king. These lyrics could also evoke modern times. Better watch your back, banker. Lyrics: Nimbus, overhead The day he's come to dread Flora, dampened with Sweat of gods and fattened ticks Chorus of rugose faces lie ahead Shamble, psychopomp meets him anon I know the end is nigh, inexorable The pelf I've gained and lost, immensurable Cackles, shackled skin For his nefandous sin Razed the barricade, crusade All you peons know You'll reap what you shall sow Execute at will But your fate is the grist mill Soon my progeny Requites the foul deeds Essence, carried on, reigned by my spawn I know the end is nigh, inexorable The pelf I've gained and lost, immensurable I know the end is nigh, inexorable Step forth The suffering I've caused, unendurable I know the end is nigh, inexorable The pelf I've gained and lost, immensurable Specter of death is here, they abuse and jeer Imbibe from the Lethe as my tumulus ripes “American Broodmares” (drum transcription) The overturning of Roe v. Wade inspired these lyrics; this is an anti-anti-abortion song. I attempted to write something that straddled the line of conveying anger, yet also displaying compassion, hoping to galvanize people into considering how their actions affect others. The best-weighed opinion on this matter that I’ve ever read is in this essay. George Carlin also tackled the issue provocatively yet amusingly, of course. I did take some cheap shots in the second verse, admittedly. I was always unsure about singing the main vocals an octave higher, but after processing them in the mix, I’m fortunate that I did so. Thanks again, Gabe! Lyrics: Today you'll lose your cool Shocked at the decision to scrub This is not your life, and nor is it theirs She didn't want it, you don't have a clue Object that you do When you force your views On someone that is not like you They suffer the consequence You're not gonna clean up the mess The accretion of stupidity Mental incuriosity My brain's gaunt The brunt I'll still flaunt PRESERVE ALL LIFE FOR WAR BE IT GRUNT OR POOR WE WANT MORE WE DON'T CARE Today you'll lose your mind Because we opted to preside This is not your life, and nor is it theirs They didn't want it, you don't have a clue Protest that you do When you force your views On someone that is not like you They suffer the consequence You're not gonna clean up the mess The sanctity of life engenders misery and strife They suffer the consequence You're not gonna clean up all the mess “Death Urge” (drum transcription, percussion overdub transcription) When writing lyrics for the record, I was reading Derrick Jensen’s Endgame books and watching lots of PaulsEgo/Paul Parkey Jr. on YouTube. I decided to take this simple, straight-forward pop song and endow it with heavy lyrics about existential dread as a result of blunted primitive urges and living non-symbiotically within nature, derived from forced societal molding. In his books, lectures, etc. Jensen talks about how we in the West have a ‘death urge’/are a ‘death cult’, as we “desire to die to this way of living that does not serve us well, but because we in this culture have forgotten that the spiritual exists, and have devalued the metaphorical, we do not understand that this death does not have to be physical, but could be transformative.” Lyrics: I don’t know what to do Feeling useless and used Up Overcome with the blues Simians groping through stygian Navigate all the pain and hate Quondam primal needs abet me, galvanizing Poisoning is modernity And we know it I don’t know what to do Can’t stop thinking of you We all just wanna die Feeling useless and used Unchain this primitive mind Overcome with the blues, existential ruse Our brain is utmost curio Broadcasted in stereo Building and building, we don’t know where we’ll lead us One thing’s sure: our malaise can’t endure We don’t know that we want you You don’t know what we need you Past all of the blather, does it even matter? No I don’t know what to do Can’t stop thinking of you We all just wanna die Feeling useless and used Unchain this primitive mind Overcome with the blues, existential ruse “The Cincture of Consonance” (drum transcription, percussion overdub transcription) Damn, this one cooks! I love how the choruses came off, it’s like a twisted take on Motown. I added the synths in the bridge (crunchy!) and one extra layer of vocals at the tail end of the last chorus during mixing. The lyrics are mostly about conformity. Lyrics: We don’t do you do We don’t do you do We don’t do you do Your obeisance at hand We don’t do you do Maelstrom of demands We don’t do you do Cumbersome as a kingdom We don’t do you do Ignorance blooms Fetch me a wheel of cheese I’m so wretched in the zeitgeist it’s embedded One day you’ll find you’re deformed Fall back in line or suffer public scorn One day you’ll find you’re deformed Hold up the line one more time and we shan’t warn Don’t think or wander Don’t think or wander Don’t think or wander Stay out there if you dare Don’t think or wander Weather you can’t fare Don’t think or wander Clemency is not your lair Don’t think or wander Ignorance spares Goldbrick chasing the schtick I’m so wretched in the thick of it we’re blessed One day you’ll find you’re deformed Fall back in line or suffer public scorn One day you’ll find you’re deformed Hold up the line one more time and we shan’t warn Curled into a ball, shroud my thoughts; fawn In a state of capitulation Fetch me a wheel of cheese We’re so wretched it’s embedded In the zeitgeist, abide One day you’ll find you’re deformed Fall back in line or suffer public scorn One day you’ll find you’re deformed Hold up the line You won’t get a chance to mourn Burn it all down “Caesura” Although I’ve been taking a stab at writing more material sans drum set (or with minimal use) in recent years, it took a lot of effort to write something like this back then. Ryan and Sophia handled their parts with aplomb. The song’s meaning is probably manifest. Lyrics: I understand demise of relationships that were prized You once were my close friend Our path took a detour Well that's okay 'cause I wanna do more I'm stuck in my world, sunken dirty You'll disappear again Fare thee well my fair-weather friend Recall your unchanging state, pining for those days When hours were whatever we made What fulfilled us then is dead Starve the loneliness Emptied edifice Upend my belief Who needs a friend when a friend is a thief I don't think that we'll make it I don't think that we'll make it I'll take my share of the blame Vicissitudes taken their strain Concomitant solitude All my memories are what I have and they go only so far The ephemeral value is mine I'll survive with the abundance of love that's in my heart This monotony now defines me Starve the loneliness Emptied edifice Upend my belief Always I'll toil until my soul it bleed I don’t think that we’ll make it I don’t think that we’ll make it Your intentions are naked “Solidarietatis in Labore” (drum transcription) Lots of tricky drum parts in this jam. I like the dynamics here, the tacet guitars in the opening chorus and part of the last verse. I remember that at one point within my oeuvre of work, I was attempting to reprise the B section grooves from “Ellis Alley” (‘Projects’ EP) into every release, and I believe its final inclusion was here, more so as a fill-in, at 1:19. This song is essentially about the power of an international—or even worldwide—union as well as the futility of capitalism. There is a quote from “A Mind Groomed Callously” (‘Fall and Response’ EP). Lyrics: Time to pay me, all war babies It's a shame we missed the last stop All our labor, that's the saber It's a shame we're just a cash crop We can't go on like this They'll take everything you own, notwithstanding Fill collective coffers We can rise up and put it back in our hands Time to pay me, all war babies It's a shame we missed the last stop All our labor, that's the saber It's a shame we're just a cash crop My thoughts are a museum Timeless, inextricable Vacuumed into a bubble Some days get the best of me So hard to convince myself We're not living in hell Time to pay me, all war babies It's a shame we missed the last stop All our labor, that's the saber It's a shame we're just a cash crop Maybe someday we'll understand Flick the switch once, results come fanned All our labor, that's the saber It's too bad we're chained to the cash Will this ever change for good Whatever we leave behind Will be viewed utmost unkind We deserve cruel judgment Paradise is ablaze Gunfire of plastic haze “Shitty Nu-Metal Song” (drum transcription) As the title would suggest! However, the lyrics are probably a bit too pretentious and heady, haha. Thanks again to Gabe for helping me dial in the nü, especially with the whispering in the first verse. I was attempting a Chester Bennington affectation in the choruses originally, but the part was too high and I don’t sound anything like him; it is also more than likely to my detriment that I wasn’t a fan. I ended up processing the hell out of the top line and it sounds kinda haunting as a result. When I sent the tracks to Rafael for guitars, I told him, “Pretend like you’re playing this onstage with Sevendust.” The bridge is just a bunch of ‘one-liners’ from a collection of poetry and prose, as well as a quote from “Dynomaniac”/“Epiphyte” (‘Midnight Acolyte’). Lyrics: I have to remind myself that this is reality All my worth is tied to you All your worth is tied to me Barren heart and empty hands Does this comprise a man An irenic repast for a liar (CUT THEM OUT NOW) This time I've had it enough And you are not good enough This time I've had it enough Your bloated ego is overstuffed Try and see Got g-got got mine g-g-got mind G-got g-got got mine, get out of my mind Got g-got got mine g-g-got mind G-got my got mine get out of my mind Got got my my m-m-mind G-got g-got get out of my m-mind Got g-got g-got g-g-got got G-get out of my mind This time I've had it enough And you are not good enough This time I've had it enough Your bloated ego is overstuffed The best and worst thing about time is it doesn't stop Yesterday feels like a dream Welcomed plight with gobsmacked glee Peace is patent pending You rot in mediocrity Now my heart is on the floor Locked far away, obscure detour Now This time I've had it enough And you are not good enough This time I've had it enough Your bloated ego is overstuffed “Denouement” (drum transcription, percussion overdub transcription) Aside from the intro, another instance of Gabe persuading me to sing most of the song an octave higher; this was especially challenging during the key change at the end. I’m exceedingly pleased with how this one developed. This was the last tune written for the record, commenced on 12JAN15 (the penultimate was “The Cincture of Consonance”). The lyrics are an admixture of personal trauma and stream-of-consciousness, with the final two lines (4:40-4:52) being also contained within the opening track of ‘Delectable Machinery II’, which is the subsequent release. There’s also a line from “Menticide” (‘Midnight Acolyte’). I especially like how the processing on the vocal ramps down from 3:43-3:54 to highlight that unsettling lyric. The ending was my first instance of experimenting and tracking with the LeafAudio Microphonic Soundbox. I fooled around with a click running in my earbuds at the same tempo as the opening track of DMII, then came up with the beat-loop/strained vocal; those are some of the lines that comprise the chorus in the aforementioned opening track. Lyrics: If ever I am famous There'll be no need to kill me for I'll already be dead I'll march on, shoulder the pylon Bagatelle carousel is my kind of hell Squamous shapeshifters hiding In rivulets of happiness and cruel shame Whole spirits are made, they are not born Saturnine, temper my mind tonight Drawn into the innate lust Escapism feels right in the glow of the screen light I cannot suffer and I cannot mend I can't cope with the fact that I can't pretend I cannot suffer and I cannot mend Nor can I cope with the fact I can't pretend Wading through the wastrels of the day makes An habitué of my brain Taut and staid, but my strength may fade Bagatelle carousel is my kind of hell I cannot suffer and I cannot mend I can't cope with the fact that I can't pretend I cannot suffer and I cannot mend Nor can I cope with the fact I can't pretend Whole spirits are made, they are not born Saturnine, temper my mind tonight If ever I am famous There'll be no need to kill me for I'll already be dead I cannot suffer and I cannot mend I can't cope with the fact that I can't pretend I cannot suffer and I cannot mend Nor can I cope with the fact I can't pretend and Arcana: secrets which won't be divulged Ipso facto: your allure is to indulge You'll never, never be old for you are atemporal Ineradicable: I must extol Blot out my thoughts Blot out my thoughts Blot out my thoughts

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