Well, that was the intention 😈. My goal at the time was specifically geared toward advancing Rock/Classic Metal's long-in-the-fang'd structures, and one of the ways I did that was by adding manifold genres outside the former ; admittedly, the "cross-fertilized" sound was just as much a product of my aim toward delineating the different characters' personalities through musical tastes and/or reflections, but there it is.
In recent years my compositional priorities changed; as I studied more advanced harmony and orchestration in classic Art music I became convinced that the goal of advancing Rock/Metal was futile, as the trendy, "fashion-oriented" side to the genre was simply integral to the whole. People will more often than not be more interested in the tried and true, which means that they would always be more interested in hearing the same song structures and chord progressions that the Beatles and Beach Boys basically pioneered and beat to death in the 60s (not to forget the huge discography of other composers in the genre like Frank Zappa and, for a more recent example, John Zorn). I saw that most fans of Rock would rather turn to either Space Rock (Pink Floyd) and the erroneously named "Progressive Rock/Metal" when they wanted to feel elevated, not caring that there's a difference between adding psychedelic elements and odd times (or showing off your masturbatory instrumental powers) and writing advanced compositions (at least, advanced from the broader musical perspective). When I learned to accept these truths, money and popularity became subservient to personal expression in my writing. I'm mostly interested in outward manifestation of the vision Jasmine and I share, plus (as mentioned above) staying true to my goal of composing in a uniquely personal, expressive way. Plus very few people (besides me) actually pay for music today, at least that which isn't part of the MTV machine
In this composition you can hear the incorporation of Rock/Metal and electronic elements with the more traditional orchestration and even hymnic; also note the presence of more familiar, present-day effects and panning techniques as well as the wide dynamic range of the piece as a whole. The numerous themes add to the diffuse quality of the work, keeping the listener engaged and waiting for developments that more often than not don't occur. Here elements of Durchkomponiert are even more thoroughly applied than on the first album, edging this more toward the avante-garde than anything remotely popular.
"Deathless" also stands as one of my most personally expressive pieces, this is taken from inside of me, my personality transubstantiated into music.
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