Two of the most pervasive topics in metal are the “underrating” and the “overrating” of a band or album. Given that most people are prone to confuse their emotional attachment to music with a sign of its quality, most of these claims are specious complaints that reflect the need for acknowledgement from other people as a fan more than anything else. Claims of “underratement” usually occur in regards to cult bands, and less often, to personal favorites that should be recognized by each fan as a mere guilty pleasure. Statements of “overrating”, then, comprehensibly come about when a disgruntled fan wants to bash any band that does not appeal to him, independently of the reason.
However, when leveled as a result of balanced, informed and insightful judgement, these observations become meaningful in that they have solid foundation and a motivation outside selfish emotional need for attention. Contrary to popular opinion, these arguments only need to be based on objective observationsbut need not be objective in the full sense of the word themselves. The reason for this is that the concepts of objectivity and subjectivity represent a false dichotomy inapplicable in the context of art appreciation. Appreciation rests outside any single preference, it always lies outside the emotional reaction of any one person, but is nonetheless attached to a social group’s set of principles. And principles are a human construct, not tangible, objective reality. In other words, it entails the individual perception through the lenses of convention of objectively observed qualities.
Art appreciation can be reduced to the appreciation of beauty. The concept of beauty has always been a complicated one, and like anything complicated, it gets reduced to the absurd by small minds that feel the need to fool themselves into believing they have everything under control. A sense of what is beautiful rests on what is considered to be goodtaste. The nature of both beauty and taste is neither objective nor subjective. If it were objective, beauty would be a hard, flat fact measurable by scientific instruments, and not the esoteric – perhaps mystical – sign existing completely and individually in meaning, perception and medium but also in the whole of an object, all at the same time. A divine omnia in omnibus, as it were, perceptible to the unconscious but only vaguely grasped by the conscious as an ethereal idea. The duality that implies being human of having one eye in time and the other on eternity. On the other hand, if it were subjective, it would be completely pointless to talk about beauty or taste, as these would be demoted to euphemisms for what is simply our personal preference.
It is therefore, unsurprising that beauty is sometimes linked to the presence of the divine, and therefore of that which is natural, full of meaning and in balance. Again, simplified misconceptions come to distort each of these and in an increasingly individualist society that is just so for the sake of individualism itself, renders them powerless, trapped in small containers as catchwords for egotistical affectations. In other words, beauty has indeed been stripped from its cosmic framework and taste has become personal rather than communal. Both have lost any of the usefulness they had for communication of hermetic meaning.
This egotistical individualism is deeply entrenched in group-oriented thinking, paradoxically self-indulging as it is unoriginal and lacking in personal identity. This is to be expected since unthinking compliance to the system goes hand in hand with a deep-rooted cowardice of the mind. So, taking refuge in the rise of science, humanism and tacit nihilism, our brave new world does away with meaning as it has forgotten why man created it in the first place. Our modern society, contemptibly lacking in any courage to face reality and the pressing matters of our times, turns away from an understanding of the transcendent in favor of self-validation.
Art and its appreciation suffer first in this headlong plunge into the shadows. The reason for this is that art (artificial) arises entirely from man-given meaning. The greatest art has always had the power to communicate and bring forth an awareness of enduring meaning through individually-perceived universal truths of the human condition. Forsaking the use of any actual meaning in beauty, and consequently in art, music becomes a vulgar tool for individual satisfaction.
While quiet deference is directed towards names like Yes, King Crimson, Black Sabbath, Slayer, Bathory or Morbid Angel, my experience tells me that most fans who hold these bands in some kind of respect do not understand half of the reasons why these bands are great. The case of directly disrespected and underrated but equally excellent art like that of selected works of Burzum or early At the Gates is a different although related matter into which I will not go here. In the meantime, let’s turn our attention to canonical works of the metal underground.
It seems rather unfortunate that after achieving canonical status in any genre, a classic work is condemned to be defiled in two stages. The first is one in which the cause and effect relationship between being a classic and achieving canonical status is not inverted but flattened, the popular conception of the relationship between the terms being one of equality and interchangeability. Something then happens as a direct consequence of this misunderstanding along with an ignorance of the nature of classical works at several levels. In this second stage the distorted image of what being a canonical work implies is rightly questioned, resulting in an at least partial repudiation of their validity. The term classic is then also demoted into a euphemism for “what many/most people like”. Equating popularity with quality in art is a direct consequence of the loss of meaning discussed earlier.
This is why it is important to clarify what is originally meant by classical. It is closest to the condition of being an epitome, except that this latter term is neutral and can signify an accurate representation of the qualities of a group or classification. Classical refers to the highest degree of excellence in regards to quality, which implies distinction, perfect balance and adequacy in a work within its genre. Disquieting as the perversion of this concept is, simple and effective education coupled with the audience’s willingness to let go of their ego would be enough to remedy this situation. As with many things, it is easier said than done.
An additional third stage also bears mentioning which can then be appended to the steps in the process of decay in the perception of classic works. After the flattening and disavowal of the aforementioned terms has taken place in the collective mind, a confusion ensues which brings forth the nominating of undeserving artists or works into what used to be a pantheon of the gods. As I see it, there are two main ways in which this happens. The first was already mentioned, very popular works are inserted into the lists by virtue of their popularity itself. The other is the result of the backlash classic works receive from the lack of understanding towards their classic status. The original and true classics are reduced by a narrow-minded audience with a lack of depth perception to a collection of tropes to be imitated. A collateral effect of this in metal is that after a certain amount of time, since the audience cannot understand what a classic actually is, seniority is equated with relevance and quality, and then novelty is equally mistaken for innovation.
Without control or awareness, these things happened lightning-fast in progressive rock and metal, accounting for the extremely fast evolution of metal genres running away from the mainstream limelight and into increasingly obscure territories. Giants like King Crimson, Yes, Emerson Lake & Palmer and Genesis were then piled up with second-raters from all over the world. Nowadays it is customary to see Rush, Camel or Jethro Tull mentioned besides the first. Childish and musically wanting works belonging to the catalogues of Schuldiner’s Death and Cannibal Corpse even take precedence over the monumental early Morbid Angel. A closer and more knowledgeable and perceptive look into the qualities of their works reveals an enormous chasm in musical excellence and refinement separates them. They belong to completely different worlds.
Metal is encumbered by an additional hindrance: a recurrent appeal to cavemanish foolishness by the audience. This is the belief that as an essentially underground movement, metal is a blue-collar music which needs to be kept rough, dirty, mean and, well, ignorant. It is a combination of something similar to communism’s appeal to the true sense of the young masses and the testosterone posturing of a macho Homer Simpson. This idiotic claim basically consists in the stereotype that metal’s nature resides in young and unlearned spirit which yearns for adventure, rebellion and hedonism. They do not realize that these are closer to the hippie ideals than to the true metal spirit which actually resides in a warrior’s mysticism that stares reality in the face without losing sight of the transcendent.
While metal needs to grow up and continue in its journey towards higher peaks, it must do so through a profound understanding of its roots and thereby a correct appreciation of its own classics and an embracing of its core and true ideals. The mainstream would have metal become a compliant rock music in disguise, an edgy but safe expression of castrated dissent. Absorbing or becoming other genres is not progress, it is only regression or distraction. This must be rejected at all costs and a unique path into the maturity of the genre must take place in a truly forward-looking but conservative manner. Metal has always made its most significant strides in those albums which on the surface seemed orthodox but which brought meaningful innovation at the level of musical thinking, information and communication. It was not the experimentalists who revel in the strange, the unexpected and the new. But the disciplined adherents to the tenets of metal who were looking for their own voice while keeping the spirit of Vir at the heart of the music.
Finnish band Bonehunter will be releasing their first full-length album, Evil Triumphs Again, on August 21st. While they project an early black metal image, Bonehunter actually play a straight-up party speed metal with Quorthon-like vox.
The band I am the Trireme will be releasing Gnosis: Never Follow the Light on June 30. Advertised as black metal, their music is best described as an indie stadium rock appropriating some black metal tropes and stitching song sections with a sense similar to Michael Åkerfeldt’s Pink Frothy AIDS, without exceeding the latter’s penchant for pasting together unrelated musical ideas. The band combine this with mainstream Satanic allusions, a pretty album cover and a personal image resembling a grown up Avenged Sevenfold.
A sure hit among angsty and alienated teenagers, a preview of the album can be heard on Soundcloud.
Death metal band Skinless will be releasing their first full-length album in a long time, Only The Ruthless Remain. The Skinless play a brand of mainstream-ed NYDM produced as loud as possible and simplified for mass consumption.
The album will be out on June 2. You can preview the album through one of the tracks being streamed on Soundcloud.
The target date for the release of Ithaca has been set for September 19. The album was release April 25 on CD by Metal on Metal Records to much acclaim. Mastered specifically for vinyl format, the release will include two exclusive 2010, live bonus tracks that were specifically chosen by the band for their quality and uniqueness. The first is a version of band’s own classic “War Tears.” This version of the track is sung in Italian, making the interpretation of singer Gianni Nepi particularly passionate. The second is the long, touching piece “Deep Wake”.
Ithaca is a concept album inspired by the 1911’s poem of the same title by a Greek poet, Konstantinos P. Kavafis (Constantine P. Cavafy), who used Odysseus’s travel from the Trojan Wars back to his home-island as a metaphor for the journey of life; the goal is not important, but the journey itself. Stylistically, it’s a mix of ’80s epic heavy metal with ’70s progressive rock, and some elements of doom.
Unique Leader Records confirms July 24th as the date French death metal band, Kronos, will release Arisen New Era. Recorded, mixed and mastered by David Potvin at Dome Studios (Lyzanxia, Arcania, Under The Abyss etc.) in Angers, France, the band’s latest album features nine tracks of technical death metal in the “brutal” vein adorned in the distinctive cover art of Pierre Alain (Withering Soul, Silentlie, Cyrax etc.).
In an age when anyone can pretend to be a musician it becomes paramount to have a guard at the gates, a slashing axe to cut the unworthy products of these confused minds in half. This bloodied instrument of justice is what the Sadistic Metal Reviews are. Cut away the dead weight of the metal world. Make them walk the plank instead of wasting resources and time on their worthless existence.
Forward Unto Dawn – Alpha
That this music is not metal is evident within less than a minute, as a promising synth intro modulates into a soothing melody that would not be out of place in a Disney movie soundtrack. However, this metalcore band does not pretend to be anything else, and in fact shows promise with some interesting riffs, structures, and lyrical themes that avoid the overt homoeroticism of most metalcore. This band also avoids the “carnival music” feeling of much of their kin by writing songs with solid narrative progression – perhaps an influence from death metal. Unfortunately, the “slamming”, chugging, rhythmically similar riffs soon grow tiring and difficult to distinguish. We encourage this band to progress in their chosen genre and further pursue the unification of theme and musical expression.
Tormention – Chaotic Delusions
Tormention hide their incoherent, metalcore-influenced music behind the veneer of being a death metal band. This release is random, indistinct, and lacking in content. Somewhat in the vein of Cannibal Corpse and Necrophagist, with pointless guitar diddles, chugging, and rapidly shifting structures. This is the kind of band that could probably weasel their way into major metalfests with their presentation of “metal” surface forms, which demands their excoriation, whereas a honest and talented metalcore band like Forward Unto Death (reviewed above) poses no such threat. Avoid.
Nahtrunar – Symbolismus
Within seconds of the first track, Nahtrunar display an obvious influence from Quebecois black-metallers Sorcier des Glaces, with sweeping and romantic tremolo-picked melodies supported by simple, prancing drums. Nahtrunar showcase talented and knowledgeable black metal composition and technique, but fall into the same trap as the aforementioned Sorcier des Glaces – becoming at times so sweetly catchy that the primal and feral nature of black metal is subsumed into an incongruous tender romanticism, more fitting for a lonely and intelligent teenage girl than a savage Hessian warrior. The interludes between every song contribute nothing.
Saturnalia – Temple to the Other
Ah, Sweden. You will never find a more wretched hive of SJWs and cuckoldry. But this talented if confused people have certainly proved their worth in the annals of metal history, which makes a garbage release such as this all the more pathetic. Story: some stoned hipsters into bad psychedelic rock figured out that if they included some “occult” imagery in their music they could sell it to metalheads, who have more money to spend than their barista/thrift-store-clerk/community-college social circle. As they made it into the now totally discredited “Metal” Archives, their plan seems to be working. The music? Just poorly done “stoner” psychedelic rock with the riffs shifted around a few half-steps to give it a pseudo-metal dissonance. These dorks are too incompetent to even make it in the dazed world of drugged-out rock’n’roll, where they belong. INCINERATE!
Ok, so, I was listening to the YES album Close to the Edge with my best friend Rick Ossian yesterday, and as is usually the case when we listen together, I started to contemplate its deeper meaning in a new way. In a 1996 interview, Jon Anderson mentions Herman Hesse’s Siddhartha as an inspiration for this album, so there is a stated philosophical source. Even taking that statement as true, we can see in the lyrical imagery an embrace of other traditions. Acknowledging one source of inspiration does not exclude the possibility of other literary groundings. I’ve long noted Platonic elements in the classic YES albums. One could say that they are usually close to the edge of a greater understanding. Their lyrics often puzzle us, and it may be valid to postulate that the lyrics sometimes serve as way of adding the vocals into the instrumentation as an element of the overall sound. That in itself is Platonic: seeing that the surface can be altered to serve a greater truth, that it need not be only a linguistic item. That said, it is also possible that the lyrics have an allegorical sophistication that works across other traditions. I will be arguing just this premise: that the lyrical content of Close to the Edge operates on an archetypal level, and that even if the inspiration is drawn from Hesse, YES uses framing and language from multiple traditions to connect to listeners. So, as I was listening with Plato in mind, and as I did so, I understood how it was that the Platonic elements were woven into this album. I had long suspected a Platonic basis, but yesterday, I looked at the lyrics and knew how I knew. Perhaps without meaning to do so (though there are certainly moments where it appears to be deliberate), YES incorporates imagery from the crucifixion narrative into the lyrics of this album. Those familiar elements serve as the nexus between the words and the Platonic underlay. I may never have noticed this if Rick and I had not sought to listen to this album and Analyze It to Life.
I have long held that Calvary is the most profound literary moment in the Western tradition. There are numerous reasons for this, some of which I’ll discuss. I won’t be saying anything new about the crucifixion itself; in fact, this argument rests on the familiarity of the crucifixion narrative. The thrust of this analysis will be about the ways in which crucifixion imagery activates an archetypal approach to the album. I’m arguing that the Platonic and Christian elements (and even Hesse) are parts of the same basic inventory of archetypes. I’m not seeking any outside sources (for the moment, anyway). The album, the King James Bible, and Plato are my sources. I’m not sure if this has been argued elsewhere or not. An occasional nod to Siddhartha may be needed, but this analysis is devoted to elements heretofore not interrogated. It seems very likely that YES has consciously written in multiple viewpoints, though it is possible some of the archetypal elements may have been included unconsciously. Archetypes apply to everyone, and YES may have been governed by them just as the listener is.
Whether or not they meant to activate the subconscious, YES has done so on this album. The lyrics include the words “crucified,” crucifixion,” “cross,” “preacher,” “teacher,” and “nail.” While the importance of the river can surely be tied to Siddhartha, the biblical implications of a river speak for themselves, and Lethe ( the River or Forgetfulness) also plays a role at the end (the edge) of Plato’s TheRepublic. In each instance, the river marks the edge of transformation or edification. There also appears to be a relatively clear expression of, in fact sometimes a recapitulation of, the chronology of the biblical narrative itself, and certainly the path to salvation that narrative offers plays a role in the thematic content of this album, for both individual believers and the savior who holds it. So, that chronology will surface as I explicate the references to the crucifixion narrative. Bear in mind that the purpose here is to reveal the album’s Platonic/archetypal underpinnings. The larger constructs of the actual and the ideal, the GOOD, and the glimpse are the archetypes that seem to rise to the top here, and the biblical imagery surely makes references to Siddhartha more easily apprehended for a Western listener as well. The biblical elements are the illocutionary force (suggestion) deployed in the lyrics; the archetypal elements are the perlocutionary force (perception) that makes this album the enduring masterwork that it is.
Here beginneth the lyrical analysis. I’ll take one song at a time, in the order they occur on the album: “Close to the Edge,” “And You and I,” and “Siberian Kathru.” The order is important. This isn’t an exercise in cherry-picking; it’s an enterprise in analyzing it to life.
Close to the Edge
As I mentioned, there seems to be an observance of the chronological order of the crucifixion narrative, and while that sequential similarity exists in more metaphorical ways across the album, it sustains remarkable fidelity in this song. Given the fact that this song constitutes nearly half of the entire album, it is fair to say that the sequential imperative persists into the remainder of the overall work. An important question, naturally, is “Where does that narrative begin?” Drawing from the order of the album, the narrative begins with Christ’s baptism by John the Baptist. In fact, the first two verses in the song evoke this.
A seasoned witch could call you from the depths of your disgrace / And rearrange your liver to the solid mental grace / Achieve it all with music that came quickly from afar / Then taste the fruit of man recorded losing all against the hour.
The Romans saw John the Baptist as a mentally unstable rabble-rouser, a “seasoned witch” stirring up religious fervor by suggesting that sins needed to be washed away (“call you from the depths of your disgrace / and rearrange your liver to the solid mental grace”). Those who sought purification from him knew that their venal human weaknesses, “the fruit of man recorded losing all against the hour,” would ultimately be cleansed by the Messiah John heralded “with music that came quickly from afar.” John the Baptist’s stated purpose is to call sinners to God’s forgiveness, anticipating the deliverer who would purify them beyond his imitative cleansing, as articulated in Matthew 3:11: I indeed baptize you with water unto repentance: but he that cometh after me is mightier than I, whose shoes I am not worthy to bear: he shall baptize you with the Holy Ghost, andwithfire.”
This begins both the story of the crucifixion narrative (because it foreshadows the eventual sacrifice on the cross required for the forgiveness John suggests Jesus brings) and the Platonic underlay (John is an imitation of Jesus, who is a tangible form of the Holy Spirit). In a masterful literary move, YES has initiated a multilayered allegory in four verses.
The opening verses are followed by four more verses, then the chorus—which explains where the edge is—then another verse with a direct suggestion of divine intervention remarkably indicative of Numbers 11:9: “And when the dew fell upon the camp in the night, the manna fell upon it.” In fact, there seems to be a reference to the first part of the verse before the chorus and the second part after it (not to mention the use of the work “crucified” immediately after the use of the word “Manna”—our link to a biblical level of allegory),
And assessing points to nowhere leading every single one A dewdrop can exalt us like the music of the sun And take away the plain in which we move And choose the course you’re running
Down at the end, round by the corner (Not right away, not right away) Close to the edge, down by a river (Not right away, not right away)
My eyes convinced, eclipsed with the younger moon attained with love It changed as almost strained amidst clear manna from above I crucified my hate and held the world within my hand There’s you, the time, the logic or the reasons we don’t understand
While this is an Old Testament verse, it sustains the idea of divine salvation, and the notion of Manna suggests communion, perhaps hinting at the Last Supper episode of the crucifixion narrative. With the river metaphor evocative of Christ’s baptism interposed as a chorus between the two halves of the verses, and especially the dew (water) and manna (bread) being placed on either side of the chorus, it does seem to echo the verse from Matthew quoted above. Further, the antistrophic “Not right way” in the chorus seems to recapitulate John’s assertion that the true savior’s arrival is imminent: the water washes away the past sins, the bread sustains the future of salvation. From a Platonic perspective, the shadows of human existence are eclipsed by the greater reality of expanded perception as portrayed in Book 7 of the Republic,
Socrates: To them, I said, the truth would be literally nothing but the shadows of the images.
Glaucon: That is certain.
S: And now look again, and see what will naturally follow if the prisoners are released and disabused of their error. At first, when any of them is liberated and compelled suddenly to stand up and turn his neck round and walk and look towards the light, he will suffer sharp pains; the glare will distress him, and he will be unable to see the realities of which in his former state he had seen the shadows; and then conceive someone saying to him, that what he saw before was an illusion, but that now, when he is approaching nearer to being and his eye is turned towards more real existence, he has a clearer vision, -what will be his reply? And you may further imagine that his instructor is pointing to the objects as they pass and requiring him to name them, -will he not be perplexed? Will he not fancy that the shadows which he formerly saw are truer than the objects which are now shown to him?
G: Far truer.
S: And if he is compelled to look straight at the light, will he not have a pain in his eyes which will make him turn away to take and take in the objects of vision which he can see, and which he will conceive to be in reality clearer than the things which are now being shown to him?
G: True, he now
S: And suppose once more, that he is reluctantly dragged up a steep and rugged ascent, and held fast until he’s forced into the presence of the sun himself, is he not likely to be pained and irritated? When he approaches the light his eyes will be dazzled, and he will not be able to see anything at all of what are now called realities.
G: Not all in a moment, he said.
S: He will require to grow accustomed to the sight of the upper world. And first he will see the shadows best, next the reflections of men and other objects in the water, and then the objects themselves; then he will gaze upon the light of the moon and the stars and the spangled heaven; and he will see the sky and the stars by night better than the sun or the light of the sun by day?
S: Last of he will be able to see the sun, and not mere reflections of him in the water, but he will see him in his own proper place, and not in another; and he will contemplate him as he is.
YES captures this in the verse “A dewdrop can exalt us like the music of the sun.” We see the same idea expressed in Matthew 3:16: “And Jesus, when he was baptized, went up straightway out of the water: and, lo, the heavens were opened unto him, and he saw the Spirit of God descending like a dove, and lighting upon him,” or the heavenly body of the Moon here, the eclipsed moon, that is. After this is the reference to “crucified my hate,” which foreshadows Luke 23:34: “Then said Jesus, Father, forgive them; for they know not what they do. And they parted his raiment, and cast lots”: a stunning Platonic juxtaposition of the eternal truth of forgiveness with the temporal human incapacity to recognize the savior for his clothing, or as YES has it “you, the time, the logic or the reasons we don’t understand”: a basic summary of the Platonic argument quoted above.
The next verses of the song evoke a more Platonic than biblical moment. That said, they do seem to include a basic archetypal motif of elevation and increased perception, of the physical and temporal manacles giving way to the apprehension of a greater truth:
Sudden problems take away the startled memory
All in all the journey takes you all the way
As apart from any reality that you’ve ever seen and known
Guessing problems only to deceive the mention
Passing paths that climb halfway into the void
As we cross from side to side, we hear the total mass retain
While these lyrics surely allude to Siddhartha, the also express the general principles of progressive illumination and serve as a reminder of the Platonic/archetypal foundation of the album: a direct rendering of the philosophical inspiration.
The next verses of the song seem to suggest Christ’s resurrection and appearance to Mary and the disciples as articulated in John 20:11-31:
11 But Mary stood without at the sepulchre weeping: and as she wept, she stooped down, and looked into the sepulchre,12 And seeth two angels in white sitting, the one at the head, and the other at the feet, where the body of Jesus had lain.13 And they say unto her, Woman, why weepest thou? She saith unto them, Because they have taken away myLord, and I know not where they have laid him.14 And when she had thus said, she turned herself back, and saw Jesus standing, and knew not that it was Jesus.15 Jesus saith unto her, Woman, why weepest thou? whom seekest thou? She, supposing him to be the gardener, saith unto him, Sir, if thou have borne him hence, tell me where thou hast laid him, and I will take him away.16 Jesus saith unto her, Mary. She turned herself, and saith unto him, Rabboni; which is to say, Master.17 Jesus saith unto her, Touch me not; for I am not yet ascended to my Father: but go to my brethren, and say unto them, I ascend unto my Father, and your Father; and to my God, and your God.18 Mary Magdalene came and told the disciples that she had seen theLord, and that he had spoken these things unto her.19 Then the same day at evening, being the first day of the week, when the doors were shut where the disciples were assembled for fear of the Jews, came Jesus and stood in the midst, and saith unto them, Peace be unto you.20 And when he had so said, he shewed unto them his hands and his side. Then were the disciples glad, when they saw theLord.21 Then said Jesus to them again, Peace be unto you: as my Father hath sent me, even so send I you.22 And when he had said this, he breathed on them, and saith unto them, Receive ye the Holy Ghost:23 Whose soever sins ye remit, they are remitted unto them; and whose soever sins ye retain, they are retained.24 But Thomas, one of the twelve, called Didymus, was not with them when Jesus came.25 The other disciples therefore said unto him, We have seen theLord. But he said unto them, Except I shall see in his hands the print of the nails, and put my finger into the print of the nails, and thrust my hand into his side, I will not believe.26 And after eight days again his disciples were within, and Thomas with them: then came Jesus, the doors being shut, and stood in the midst, and said, Peace be unto you.27 Then saith he to Thomas, Reach hither thy finger, and behold my hands; and reach hither thy hand, and thrust it into my side: and be not faithless, but believing.28 And Thomas answered and said unto him, MyLordand my God.29 Jesus saith unto him, Thomas, because thou hast seen me, thou hast believed: blessed are they that have not seen, and yet have believed.30 And many other signs truly did Jesus in the presence of his disciples, which are not written in this book:31 But these are written, that ye might believe that Jesus is the Christ, the Son of God; and that believing ye might have life through his name.
And the YES lyrics,
In her white lace, you could clearly see the lady sadly lookin’ Sayin’ that she’d take the blame For the crucifixion of her own domain
Two million people barely satisfy Two hundred women watch one woman cry, too late The eyes of honesty can achieve
Then according to the man who showed his outstretched arm to space
He turned around and pointed, revealing all the human race
I shook my head and smiled a whisper, knowing all about the place
On the hill we viewed the silence of the valley
Called to witness cycles only of the past
And we reach all this with movements in between the said remark
These lyrics nearly paraphrase the biblical account. The two million people elicits an image of the new faithful, the two hundred women symbolize the two angels, and the lady in white is the immaculately conceived Mary come to take away the body, her crucified domain, and “the man who showed his outstretched arm to space” represents the risen Jesus who instructs Mary and the disciples in how to sustain his legacy.
And You and I
The second song on the album, “And You and I,” also uses imagery from the crucifixion narrative. While the elaboration of this imagery is not as extensive or as sequentially coincident with the crucifixion narrative as “Close to the Edge,” there are several unmistakable correspondences. The first rests in the direct mention of the word “crosses,”
Oh, coins and crosses never know their fruitless worth
This verse evokes Matthew 22:21 “They say unto him,Caesar‘s. Then saith he unto them, Render therefore untoCaesarthe things which areCaesar‘s; and unto God the things that are God’s.” This verse rests among the parables, great lessons articulating the differences between the temporal and eternal. Indeed, this passage works on the Platonic level as well. Christ’s message is not one of rebellion. It is a message of higher understanding, and it is delivered in parables, much the same way Socrates (or even Gautama) would do so.
The next applicable lyrics seem again to recapitulate the Christ’s baptism. Whether intentional or not, there seems to be an allegorical expression of Jesus as the preacher and John the Baptist as the “insane teacher.” Further, following from the hint of the Roman Empire’s role in the crucifixion and the subsequent replacement of that Empire with the Church, the lyrics quoted below seem to summarize the overall historical moment under examination.
Sad preacher nailed upon the colored door of time
Insane teacher be there reminded of the rhyme
There’ll be no mutant enemy we shall certify
Political ends, as sad remains, will die
Reach out as forward tastes begin to enter you
The “insane teacher” echoes the truth (“reminded of the rhyme”—temporal truth), the “sad preacher” suffers for that same truth (“nailed upon the colored door of time”—eternal truth) and the “political ends, as sad remains” collapse under the weight of the truth (“forward tastes”).
The salvation motif continues in the next verses.
I listened hard but could not see
Life tempo change out and inside me
The preacher trained in all to lose his name
The teacher travels, asking to be shown the same
In the end, we’ll agree, we’ll accept, we’ll immortalize
That the truth of the man maturing in his eyes
All complete in the sight of seeds of life with you
Speaking in first person now, the seeker articulates an emotional crisis: “I listened hard, but could not see/ life tempo change out and inside me.” The then recalls the preacher and teacher, those before him who brought the message, he ultimately unites with them in achieving the goal “in the end, we’ll agree, we’ll accept, we’ll immortalize / that the truth of the man maturing in his eyes / all complete in the sight of seeds of life with you,” an expression of salvation in the Christian sense or of transmigration in the Platonic sense. Interestingly, the lyrics here step beyond a mere retelling of the Platonic or Christian narratives and postulate the ultimate goal of both, of perhaps all philosophy: living a better life. The key to living that better life comes from what Platonists call “the glimpse” or what Christians may call an epiphany. The only way to open the “colored door of time” is if your journey for truth takes you close to the edge.
The final song, “Siberian Khatru,” holds the fewest direct connections to the narratives being examined here. In fact, the final song extends the expression of the goal explained above. In an idealized and compressed expression of the outcome, the lyrics of the final song create a space to unite the disparate traditions under a final archetypal umbrella.
The first allusion refers to the instrument of crucifixion: the nail. However, the lyrics describe the nail in ideal terms and suggest that it is a fastener not of a person to a cross but of people to each other and to a shared vision: “Gold stainless nail / Torn through the distance of man / As they regard the summit.” Echoing the scene at Golgotha, these lyrics idealize the even and suggest that the unity of those who believe look outward toward a greater truth. Then an implication that the release is at hand rests in these lyrics, perhaps channeling the irony that the nail the used in the crucifixion ultimately became the nail that affixed the Romans to history and freed Christians to supplant them: “Cold reigning king / Hold all the secrets from you / As they produce the movement” and “Cold reigning king / Shelter the women that sing / As they produce the movement.”
The song and album then close with a list of images suggesting many traditions, of movements produced and secrets revealed:
Luther in time
June cast, moon fast
As one changes
Heart gold, leaver
Soul mark, mover
Called out, saviour
Moon gate, climber
Turn round, glider
Thus, these seemingly disparate approaches to faith have reinterpreted the same basic truth and broken free of their oppressors, much as the Platonic tradition would advance a search for truth over an acceptance of immediate circumstances. Both traditions, as well as the obvious references to nature, Jesus, Protestantism, and probably Buddhism as well, have apprehended the truth beneath the truth, which is that truth is not a static object to be held and adored but a living practice to be embraced and interrogated. As John 8:32 has it, “And ye shall know the truth, and the truth shall make you free.” As Plato and YES (and Hesse) suggest, knowing the truth results from a profound and unremitting search for glimpses of a greater reality that may be seen if you are close to the edge.