Track By Tracks: ANUBIS - Dark Paradise (2024)

1. Venom and the Viper’s Kiss:

So, we’re actually starting the album off on a somewhat dour note… this song is about an unbelievably upsetting police killing from 2016 that, of course, went completely unpunished and criminally under-reported-on. So do yourself a favor and, rather than Google “daniel shaver killing”, donate directly to Laney Shaver-Sweet’s GoFundMe:

2. Heartless:

Musically, this song was a collaboration between us and our former drummer Paul Gehlhar. Lyrically this song deals with megachurches and the Prosperity Gospel, which is a theology that teaches that extreme wealth is a sign of God’s blessing and a reward for being adequately religious. This song is NOT anti-religious, it’s against the specific breed of preachers who urge terminal cancer patients to spend their last $500 on donations to the already-wealthy megachurch rather than on health care for themselves.

For a more humorous and informative delve into this particular subject, watch the John Oliver segment on “Megachurches”.

3. Priestess of Dark Paradise:

This is about the idea of the “one who got away”. Ie; the horribly toxic relationship that takes all of your strength and willpower to get out of, and that you spend the rest of your life trying to recapture. However bad and however destructive it was at the time, in retrospect, it always looks like a “dark paradise”.

4. Fallen:

So, here’s one for my fellow Norse mythology nerds.

This song is about the Ragnarok myth – specifically, it explores the academic interpretation that says that Ragnarok is an extended metaphor for the supersession of the old Pagan beliefs with Christianity and monotheism.

At the time I wrote these lyrics I had been watching that Finn McKenty video where he argues that “Emo Rap is the new Rock”, and was sort of mentally preoccupied with ideas of death and rebirth, old paradigms dying out to make way for the new, etc, etc. Since I process almost all of my thoughts and feelings in Norse mythology terms, this was the result.

5. Devour:

The version of the song that appears on the album is actually a remake of a song from our very first EP. It’s more or less the same, I just felt like this song needed a remake, because my singing skills at the time were abysmal, and I felt that this song was strong enough to where it needed to be heard *properly*.

Lyrically this was inspired by the rise of religious nationalism and far-right cultural movements all across the globe, populated by people who see themselves as “holy warriors, into fire we ride”.

6. The Uncreated:

This song is about the book “American Gods” by Neil Gaiman (the BOOK, not the shit-tacular miniseries). Specifically, it explores the underlying theme that big, cultural paradigms never actually change, but rather reappear in superficially different but equivalent forms.

The story in the book focuses on a war between the New Gods and the Old Gods, but in the end, it’s revealed that the war is a deliberate misdirection, that these two factions have never been at odds with each other, and that the entire premise was manufactured by forces that draw their strength from sowing cultural discord.

7. Symbolic:

“Symbolic” by Death has always been an extremely important song to me. Apart from being ARGUABLY the first Death song that’s completely separate from the “Scream Bloody Gore” days and to deal full-heartedly in philosophical and psychological subject matter, it was also the first metal song I ever learned to play with other people.

There have been a lot of “clean vocals-to-death metal” cover songs, but almost no “death metal-to-clean vocals” cover songs (off the top of my head, Sabaton’s cover of “Twilight of the Thunder God” may be the only one). And while I feel like it’s possible not everyone will dig what we’re doing with this song, I hope everyone at least recognizes that it’s done in good faith, out of a love of Chuck’s work.

This is something I’d like to do more of in the future – there are tons of songs by Morbid Angel, Suffocation, Krisiun, Vader, etc., that I think would sound awesome with the melodic metal treatment.

8. Strife:

This song was written with a different lineup, some members of which brought a more metalcore flavor to the writing process, and the result is a song that was out of my personal comfort zone in a lot of ways. Lyrically this is a fairly standard song about betrayal, rejection of social norms, affirmation of the individual, etc.

This song is not what I’m used to writing, I obviously have questions about how people take it, but we’ve played it live a handful of times and it’s always been well-received, so hopefully the same can be said of the album version.

9. Thy Frozen Throne:

This song is essentially our take on the Sonata Arctica “tragic love story” formula – both musically and lyrically. Musically this is probably the most straightforward Euro-power metal song we’ve ever written, and lyrically, sometimes you make enormous sacrifices for love and get only “desolation and pain” in return.

Whether or not the lyrics are autobiographical in natural, I’ll leave it up to the listener to determine.

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