***Rather than just post news, press releases, and other band-related updates here, weve decided to develop our news section and include some opinionated views from time to time. Think of it as the Chosen Blog if you will. Enjoy!***

Resolution: One year later, digital downloads, and reframing our approach to free music...

Monday, March 31, 2014

The common expectation that musicians ought to survive by ‘tours and t-shirts’ is pervasive in this digital age of free access to music but it ignores the fact that many bands are simply not in a position to tour. We have already written at length about why we’re not able to tour and our circumstances haven’t really changed and most likely won’t any time soon. This now presents a dilemma for us as we look to releasing future music online.

For instance, when your fan base is relatively small, and tours are just not feasible because the expenses are way too high to make any profit, the rationale for giving away free music all of the time does come into question. If the only real ‘experience’ you are offering is your original recorded music and not much else, can this be feasibly sustained over time? When we decided to release our debut album Resolution for free, we did it for a number of reasons. The first one was that it would get noticed and would allow people to hear it completely risk free. We also wanted to appeal to the ‘try before you buy’ philosophy of music lovers; those cautious individuals who say they only purchase the music they’ve been able to listen to and enjoy first.

Yet, despite well over 20,000 free downloads, our hardcopy sales and donations have been extremely low. How low, you might wonder? Well, we have no qualms about total transparency here and can disclose that, at the time of writing, we have received less than €250. Now, of course, that figure can be totally justified because we chose to give our album away for free. But, to be perfectly honest, we had hoped that a few more people would’ve purchased a hardcopy or thrown a small amount of money our way as a token of their appreciation.

A tiny minority of people were kind enough to give something back and we really appreciate their support. At the same time, we also really appreciate those who have downloaded our music and loved it, telling their friends about us and spreading the word. These actions aren’t meaningless just because remuneration hasn’t taken place and we’re not attempting to make people feel guilty for availing of something we told them to take for free. Rather, we are stating that we may have to alter this method of distribution if we are to continue putting out professionally-recorded music on a regular basis. We’ll explain more about this alteration at the end.

The various expenses for Resolution came to approximately €14,350 and having only €250 to put towards the projected costs of our second album is less than ideal. As we estimate the future costs for our next full-length release, we are seriously questioning giving away our music when we have no viable source of revenue to make back some of the expenses, like the way other bands can rely on touring and shifting physical product. Recording the next album ourselves has been considered but that requires good equipment, skill and the necessary experience, all of which we are lacking. Simply put, Resolution would not sound the way that it does had we home-recorded it and this point cannot be diminished.

Crowd-funding is also something which many bands have turned to in recent years, yet it appears to only really work for a tiny minority, many of whom are already established acts with reasonably big followings. For the rest of us relative unknowns, you’re essentially being pragmatic about the willingness of people paying for something in advance which they may not get to hear for a year or two, depending on how far into production you are. Frankly, neither of these two options appeals to us much. We want to be able to record our music with the assistance of experienced professionals and we’re comfortable paying for this up front ourselves. But what we would like to do is to reach out to those who find meaning and enjoyment in our recorded music and ask them to support us in some small way.

Making the transition from ‘We’re giving our music away for free’ to ‘Sorry, you have to pay for it now’ might smack of hypocrisy but the alternative is a new album every 7 or 8 years, as we try to save up funds from other sources as best we can. Remember, a two-man band is at a greater disadvantage than a four- or five-piece group when it comes to raising money. This isn’t an easy decision for us and we have wrestled with the idea for some time. However, we believe we have found a workable solution.

Buy 'Manufacturing Victims' for €0.99 HERE
We will continue to put out subsequent albums for free download, but not right away. Instead, we have decided to introduce a ‘time delay’ factor, so that those who do not wish to pay for our music can do so but they will have to wait a while after the release date before we make it free. So, when our next album is released, it will be available for purchase as a digital download for a mere €2.50 and then become free after a year or two. This way, it gives people a choice about whether they want to wait or whether they want to contribute a small amount of money that will go towards the costs of the next album and so on.

Now that people have sampled our debut album for free, we would hope that any cynics out there might understand where we are coming from. We’ve already dropped thousands into the music and will keep doing so. But getting €250 back just isn’t what we expected. No matter what a band does, it is crucial for them to receive some kind of money in order to keep going. After all, it is not expected of bands to tour for nothing whatsoever (although many end up doing just that). We all agree to pay the price for the experience of the live show and many of us download music for free and tell ourselves that we’ll support the band when they come to our city. But what if that band doesn’t play shows? How then do we display our support?

Given the vast amount of albums out there, we realise that attaching a price tag may put people off. But considering how much of a transition the music industry is in right now, we’re willing to take the risk and see what happens. There is always the possibility that those who downloaded our debut album would never have paid for it anyway, so we can only really appeal to those people who consider our music being worthwhile and enjoyable, and encourage them to do the decent thing and help us make our second album an even bigger success.

Finally, we have reduced the price of the Deluxe Special Edition of Resolution to just €9.99 which includes post and packaging to anywhere in the world. We’ve also made the three original songs from the second disc of this edition available as a digital download for €0.99 through our Bandcamp profile. Entitled Manufacturing Victims, this short release basically allows anyone who doesn’t currently own either of the hardcopy versions to hear the original three bonus tracks that were recorded during the Resolution sessions. They are not B-sides but were omitted for reasons to do with not wanting to make our debut album too long.

So, if you are one of the 20,000 who downloaded Resolution, enjoyed it, and would like to hear three more original songs from the same recording, why not spend €0.99 or better yet, pick up the Deluxe Special Edition for €9.99 and get the whole package. Either way, it’s helping us towards getting the next album out much faster. Thank you for your generosity.

A great way to finish off the year...

Monday, December 16, 2013

As the year of 2013 comes to a close, we reflect on what has been an eventful twelve months. While the dust has long settled on all the fanfare and vibrant activity back in April and May, when our debut album Resolution was making waves in media circles, this doesn’t mean people have forgotten about us. On the contrary, we are honoured to have been included among Sam Roon’s Top Ten Albums of 2013 and it is getting featured in write-ups such as these which makes all the effort we put into releasing music worthwhile.

We were never under any illusions that we’d see financial remuneration from putting out an album for free and it’s undoubtedly this method of distribution that has led to it being downloaded just shy of 20,000 times from our website alone. We’re grateful to everyone who bought limited edition hardcopies and donated money. Thank you to everyone who helped us with everything, from the creation process right up to the release of Resolution. Special thanks in particular to Asher Media Relations, Smash It PR, Voice Coaching Ireland, Alwyn Walker and all at Westland Studios, and Fiaz Farrelly.

Expect some announcements next year in relation to the details of our second album, as well as the release of some long-awaited merchandise which had to be postponed due to lack of funds. We really mean it when we say there’s little money to be made from playing niche metal in this day and age.

On the possibility of touring...

Monday, July 8, 2013

It’s been several months since we released Resolution to the public and one particular subject that has surfaced in comments and interviews is whether we will be playing live. As a quick perusal of our previous gig dates attests, touring is something we have experience of and it’s something we’ve never ruled out from ever happening again. However, considering all the risks involved and the nature of the underground live music scene being completely flooded with gigging bands, we have seriously questioned the (in)sanity of trying to organise a tour for this album.

Obviously, there are people out there who would love to see us perform and we are humbled by such requests. But touring, on an independent level such as ours, is likely to invite more complications and stress into our lives than the pleasure of another ‘working holiday’ in a foreign land, playing to audiences, could ever compensate for. We’re not strictly anti-touring, by any means, as it really can be a fun experience when the circumstances are right. But all too often it leads to burn-out, line-up changes and even break-ups, as we once discovered.

While most people now understand that there is relatively little money to be made in selling music, this has shifted the focus onto tours as being the only viable source of income. Yet, contrary to popular belief, touring can be one of the fastest ways for a band to lose money because of the costs involved. That said; some musicians are quite okay with this kind of ‘pay-off’ as it gives them a vacation from their normal life back home. Moreover, given that people typically pay to visit holiday destinations for the experience, if a touring band are also paying so that they can perform music live what’s wrong with that? At the end of the day, it boils down to what each band is trying to achieve and what they’re prepared to accept.

The general consensus is that touring has a central role to play in ‘getting the music out there’, exposing it to new audiences, as well as just putting on a great live show for existing fans. A lot of young bands from the time of their initial formation have aspirations of touring one day. They often start out by saying they want to ‘record and then tour’, and there are a number of valid reasons for this. Firstly, touring has been the standard model since before the music business even came about and is, therefore, the tried and tested route. Secondly, when everything does fall into place, and there are many variables to consider, it can be the gateway to future financial success and relative stability. But, as with most things, there is another side to the coin.

Sadly, many underground bands commit to various kinds of tours that do absolutely nothing for them. Of course, the rationale behind such decisions is usually that some good will come of it because ‘every band that ever made it toured at one stage or another’. While there is a kernel of truth to this statement, it conveniently ignores the probabilities and real life circumstances that are part and parcel of the whole touring dynamic. Some musicians, usually (but not limited to) those who reside within the niche genres, can adopt a heavily romanticised view of the touring lifestyle. The notion of being a ‘road warrior’, slumming it out as a working musician away from the mundane day-to-day trappings of contemporary life, all in the name of ‘staying true’ to themselves and following their heart, is quite attractive to many impressionable young people. In fact, it is very easy to see how one could become embroiled in such romantic desires fuelled by a sense of symbolic rebellion, as opposed to settling down and working a boring, ‘normal’ job until retirement age, like the majority of people in society end up doing out of basic necessity.
Photo Credit: Fiaz Farrelly
But while these self-styled musical adherents may proudly dedicate themselves to playing anywhere that supplies electricity and a stage, all in the name of being a ‘true’ artist, the lifestyle can lead many to dire straits, both financially and emotionally. Of course, these particular individuals may downplay the negatives of their chosen regime when the subject comes up in discussion with others, but it just goes to show that playing live music can mean more to some people than having a relatively comfortable life. Perhaps many of these kinds of touring musicians are simply looking for an escape that isn’t there. People will go on tour and put themselves through all kinds of situations for certain forms of compensation, not always money. Reputation, attention, social status; these things are all highly valued within society. It’s human nature. People will gladly do tours if it ‘pays’ them in other ways.

Even bands that decide to ‘buy-on’ to small tour packages will often take the opportunity to publicise how they’re opening for such a band (and doing a number of dates in different cities/countries) as though this is some kind of yardstick for measuring success. But if they had to pay to be there then just how impressive is it really? While some might look at it as a result of the band’s hard work and talent, those with a different perspective on how the industry operates might see it for what it is: a promoter who needed some financial security by offering a support slot to a much lesser-known band that were willing to fork out a significant sum of money for the privilege. Each to their own. Where we (and many others) draw the line with touring is when it starts to interfere with other areas of life.

While some musicians adopt the aforementioned self-styled image of total commitment to music and remain entrenched in a kind of protective confinement of a limited set of rules (‘I am a touring musician and music is my life’), we have never felt the need to restrict ourselves in such a way. And although certain musicians espouse that touring is a duty no matter what, as though you’re not as serious a musician if you don’t tour, some of these same idealists also tend to omit how they’ve been supported by their parents their whole lives (which has allowed them to stay in a bubble of their own reality), and no matter how badly they screwed up, someone was always there to bail them out of their self-made troubles. Rock ‘n’ roll, indeed.

If there’s any sort of advice or ‘message’ to be gleaned from this entire piece of self-indulgent verbosity, it’s that before diving headfirst into trying to make some money from music, which could involve having to hit the road every few months, one should take stock of the odds. For example, you wouldn’t be able to justify spending half of your income on lottery tickets would you? And why not? ‘It’s a lot of money to sink into something for which the odds are so high; the money could be better spent on other things instead’. Those are the very same reasons that prevent many people from attempting a ‘career’ in the music industry today. Because, just like the lottery, it is a game of probability. Yes, it requires talent, enthusiasm, perseverance and luck but no self-serving bias can ever shield the true reality of the statistics. There are winners but there are definitely losers (in the sense of not being able to sustain the lifestyle) and droves of them.

The other difference is that buying lottery tickets doesn’t involve having to ‘hit the road’, which often means unpaid time off work or having to quit one’s job entirely and looking for a new job when the tour ends. No doubt the perceived status and attractive exterior of the music industry reels many people in but it’s just one aspect to being a musician in the digital age. Maybe in order to understand the persistence of some musicians we need to look at their emotional needs first. How many bands have members who will hack it out and keep going regardless of the repercussions, simply because of pride or an unrelenting desire to be a ‘somebody’? Countless musicians have at one point or another expressed their relentless devotion to making music that they would sacrifice everything else in their lives if it meant they could continue to write and express themselves.
Photo Credit: Fiaz Farrelly
The search for significance in life is an incredible one. Yet the real significance of our lives is that we are even here. In a world of approximately seven billion people, we are all searching for significance (we evolved to feel that way) but significance is not the same as conspicuous success. Understandably, the actions of many people are motivated by wanting to leave their mark on the world. However, not everyone will have their dreams fulfilled. Indeed, some people can’t handle the possibility that their life may turn out to be nothing more than ‘ordinary’ (a truly subjective term) so they try to make their lives super special and attempt to fill it with things that only a handful of people get to experience in life. It’s a recipe for disillusionment and disappointment in a lot of cases.

But returning to touring; we are not all that enthusiastic about putting ourselves in a very financially risky situation just so we can say we’re on tour and feel like we’re achieving something important because there are people out there who will come along to watch us. As it stands, we receive very little money through selling hardcopies of our music and donations and, therefore, are not about to take the plunge into putting a tour together which could seriously jeopardise the budget for our next album. Given how so many new acts are being discovered online and/or through word of mouth these days, we feel it is worth waiting to see how much our music spreads before committing to any tours. In other words: it is early days yet. Though, as time goes on, there is also the possibility that we may never be in a position to tour.

Of course, risk cannot be totally eliminated but whether we travel to play in front of 50 people or 500, the expenses are often the exact same. The difference, however, is that the more people who turn up the better the profit margins, thus, making it a worthwhile endeavour. We mean no disrespect to the people who are already willing to come out and pay to see us play, but having spent a significant sum of money on the recording and promotion of Resolution, we are simply not able to perform abroad at such an early stage in our development. Much like the internet being oversaturated with music, the live music scene is equally bloated with varying kinds of performing artists. And if many established bands on record labels are having a hard time filling venues for their tours, we can’t exactly expect to be free of the same uncertainties that permeate the music scene.

The contrast is that having one’s music online 24/7 doesn’t involve having to take unpaid holiday time off work, arrange transport and accommodation, and haul equipment up and down flights of stairs to play a forty-minute set for a mixed audience (who, in some cases, may not have even come out to see the band but just wanted to get drunk with their friends). The point being made here is this: exposure is not limited to gigs and being ‘on the road’ is not one idealised or homogenous experience either. There are different levels and while every band aspires to play in front of bigger audiences for better money the longer they keep at it, this only materialises for a small minority of people.

For us, it comes down to weighing up what kind of crowds we think we can pull and offsetting the risks against what we can realistically afford to do. Remember, we’re giving away our music for free but that doesn’t mean we are made of money and can run off to do any tour we fancy. As a niche band, we’ve already experienced the thrill of performing live music in new places for diminishing returns. We don’t expect to make money playing this kind of music. But we’re also at a stage in our lives now where putting ourselves in even more debt for the sake of a small tour is just not something that appeals to us. At this point in time, the internet simply offers us more exposure than any independent tour ever could, as it still allows us to reach new people but without the expense of being ‘out there’ potentially losing money.

Defective Prospection
: A
Lyrical Theme Exploration

Friday, May 31, 2013

Each of the songs featured on Resolution are about a particular subject matter. The following piece is one such lyrical theme for the song Defective Prospection and is taken from The Collector’s Edition [Art Book + 2CD] version of the album. It’s a topic which has been heavily inspired by the popular non-fiction book Stumbling on Happiness by psychologist Daniel Gilbert as well as some other literature on how the human brain works. Have a read and see what you think:

Perhaps, the three most important decisions we come to make in our adult lives is where we want to live, what we want to do with ourselves and who we want to spend our time with. Contemporary life can be extremely complex and competitive in nature, even at the best of times. From a young age we are told to do well in school so that we can go to college, get a good job and, hence, be able to afford a certain lifestyle that will provide us with happiness and allow us to look after ourselves and the people we care about. But as we all know, not everyone gets to become successful or has their ambitions fulfilled. And with bookstores crammed full of self-help titles and similar get-rich-quick schemes abound, we are clearly living in an age where rising expectations and crushing realities collide every single day.

Part of life is dealing with the inevitability that unpredictable things can and do happen, and that we all must live with some degree of uncertainty. Many individuals often question the direction they’ve taken in life. They wonder whether they have made the right choices or are, perhaps, disillusioned because their current choices have not provided them with the fulfilment and excitement they sorely anticipated. What we choose to make of ourselves in life is something that not everyone figures out in the same fashion. Some people seem to know exactly what they want, while others tread a different path, trying on various roles for size. But often, people work hard towards a momentous goal thinking that as soon as it is achieved they will find everlasting happiness and contentment, only to be bitterly disappointed when the moment finally arrives.

One of the defining features of humanity is that we think about the future in ways that no other animal can or does. Prospection is the act of looking forward in time or considering the future; a mental process facilitated by the frontal lobes of our brains. But just how accurate are we at predicting how we will react to future events, both good and bad? While we can step into imaginary tomorrows, projecting ourselves forwards in time and experience, our ability to visualise accurately is fraught with imperfection. Instead of being the logical, calculating machines that we like to think ourselves as, we regularly mispredict our emotional responses to future events. This encompasses everything from successfully forecasting our future feelings upon winning the lottery or becoming famous, to having children or even being paralysed in an accident.

When we imagine our future circumstances, we unconsciously fill in details that won’t really come to pass and leave out many details that will. Just as we don’t recall every little detail of past events, so too do we fail to conjure up every feature of a future occurrence. So while most of us enjoy unprecedented freedom to pursue whatever we think will make us happy in life, the true reality is much more counter-intuitive. That, although thinking about the future in positive ways can be extremely pleasurable for us, we tend to overestimate both the probability that such good events will actually happen, as well as the likelihood that they will grant us the lasting satisfaction we think they will.

Photo Credit: Fiaz Farrelly

Chosen performing Instinct live in studio...

Tuesday, April 23, 2013

Despite their overall lack of professional quality, low budget music videos can still be a great way to spread music around the internet and while we’ve just about blown our budget on the creation and promotion of Resolution, this doesn’t mean we can’t come up with something to visually showcase our music. We don’t expect to win any awards for best band video but, nevertheless, it’s fantastic that the internet and accessible hardware and software have made the act of video making much more democratic. The following short video was recorded at our own studio space in Dublin on April 17th 2013 and is a live version of the song Instinct. Naturally, because there are just two of us, we are making use of a Korg D888 unit to supply a click track, the rhythm guitar, bass, and additional female vocals and sound samples, which all come from the album sessions.


‘Resolution’ now available, self-promotion in the digital age, and competition winners announced...

Saturday, March 30, 2013

It is with great pleasure that we unleash our debut album Resolution upon the world. All nine tracks are available for free download from our revamped and updated website, as well as being accessible via some of our social media profiles (links below). Please help yourself and let us know what you think. Better yet, tell all your friends. Moreover, why not create chain emails to spam everyone in your address book, warning them that if they do not forward it to at least twenty people they will have bad luck for the rest of their life. All joking aside, now that we have finally released our first proper album, we would like to take this opportunity to talk about a more honest approach to self-promotion in the digital age and what it means for an independent group such as ourselves.

Many bands and solo artists appear to spend a portion of their online time sifting through message boards and networking websites, such as Facebook, YouTube, and the like, perpetually spamming people on autopilot in the hope of garnering genuine support. Those of you who once used MySpace when it was at its peak will no doubt remember being bombarded with impersonal and oversized banners, ‘check us out’ comments, abundant friend requests from unknown bands and artists, and pointless notifications about gigs that weren’t even in the same country as where you lived, nevermind the same city. Thankfully, those times are behind us but musicians are still out there, thinking up time-saving ways to try and promote and advertise themselves. Of course, all music needs someone to hype it up and spread it around but how one chooses to approach self-promotion can make a world of difference.

Currently, the music section of our website contains various comments from some of the people that we once emailed about our music through MySpace several years ago. We did not spam these people but, rather, looked at their profiles, read what kind of music and bands they were into, and then emailed them an introduction to ourselves if we thought they would enjoy our music. In short, we felt this was a more productive, personal and most of all, respectful approach and actually made the effort to spend an hour or so each day looking for people with similar interests to our own. This involved carefully reading profiles, emailing people and, in short, not acting like an *ADD TO FRIENDS* profile collector.

Because, when it comes down to it, what’s the point in having 10,000 friends if only 5% of them are genuinely interested in the music? Why do lots of bands want to clock up as many online profiles (or ‘likes’) as possible in the shortest space of time? Is it to give the appearance of success and popularity? Perhaps it’s meant to impress a record label. Whatever the thinking behind it, simply spamming as many people as possible is not the answer and in many cases tends to have the opposite effect. For instance, when a band sends out a blank friend request or an agenda-pushing comment, what they don’t realise is that they could also be sending another kind of message in the process:

Hey! We want you to listen to us. We expect you to give our music some time and attention but we
’re not really prepared to invest the same kind of time and effort into looking at your profile to see what kind of music you actually like. We couldn’t really be bothered sending you an email or respectfully introducing ourselves first. We just want to spend the least amount of time at this whole promotion thing but get the maximum results.

The thoughts, communications, attitudes and actions of many musicians demonstrate this underlying belief in detached self-promotion. Somehow, many feel they are entitled to an audience because they can upload music to the internet. Too many bands and solo artists show little or no respect for their potential fans. It
’s as though instead of extending their arm, initiating a warm handshake and having a quick exchange like you would normally do in person, they prefer to slap a flyer on everyone in the room without even making eye contact and then move on to the next person, and the next, and so on.

Bands, by their very nature, are incredibly lazy and for many different reasons possess a fierce unwillingness to put in the time it actually takes to properly promote their music in a manner which does not treat potential fans as though they are time burglars. Unsurprisingly, a significant number of people who used MySpace eventually began declining most band friend requests automatically, worn out from logging on each day to find another twenty or so new requests, the majority of which were absolute drivel. Granted, musicians still need to advertise themselves to a certain extent but with the internet now over-saturated with mediocrity, it’s about time that they learned how to refine their approach in presenting their wares to the world.

Our hope is to put our music out there, make it as accessible as possible, and simply let people discover it in their own time through word of mouth or ‘word of mouse’ as is often the case these days. Despite all the positive responses from the people we once contacted through MySpace, we personally feel that direct self-promotion isn’t as effective as when someone else personally recommends a band. There’s simply no substitute for the seal of approval that comes from people whose opinions we all know and trust as opposed to the self-promoting band that are obviously going to tell everyone how brilliant they are.

The email approach we took via MySpace five years ago was effective because it was very different to what most bands were doing at that time, such as cutting corners with superficial comments and lazy promotional tactics. But if all bands were to start sending out in-depth emails, very soon the playing field would be levelled and everyone would be back to the square one again. However, what will never cease is peer recommendations. Most of the bands we all listen to tend to be the same ones that others told us about first.

Certainly, bands make new fans through mass media exposure (which is why we are exploring that avenue as well) but it always comes back to the local music community and the people with whom we associate. And with the internet in operation that community now stretches right across the world. Our potential fans are out there online or if not, then their friends certainly are. Simply put, there has never been a better time in history to reach so many people, so easily, and we are extremely grateful to have this opportunity. So thank you for your time and attention and thank you for any recommendations you might make to others about our music.

Lastly, as promised, we recently held our small competition to determine the winners of the three Deluxe Special Edition [2CD] hardcopy versions of the album. Congratulations to Maren Jansen, Chris Palmer, and John O’Brien. You will all be contacted via email to obtain your postal details, as well as to enquire whether you would like to have a personal message of your choice inscribed inside the CD booklets. As for everyone else, both the Deluxe Special Edition [2CD] and the Collectors Edition [Art Book + 2CD] are now available directly from our website. For a look at what’s inside, you can watch this short preview video.


Album release date, track preview, and upcoming competition...

Friday, Februrary 1, 2013

Recorded at the prestigious Westland Studios with producer extraordinaire Alwyn Walker at the helm, our debut album Resolution will finally be released on March 30th and will be available for free download directly from our website. Although the digitisation of music is fast becoming the norm, with album artwork taking more of a back seat in recent years, we still relish the opportunity to present our music as a piece of communicative art. Therefore, in addition to free MP3s, our album will also be available in two exclusive Limited Edition hardcopy formats. For now, we have uploaded the first track from the album which can be accessed below. Any newsletter subscribers will also have the second track sent to their inboxes.

The track listing for the album is as follows:

1. Engines of Belief MP3
2. Defective Prospection
3. The Narcissism Epidemic
4. Mental Clarity
5. Diminishment
6. Instinct
7. Asch’s Paradigm
8. Metaphysical Contradiction
9. The Departure Lounge

The Deluxe Special Edition [2CD] features a 9-track bonus disc of unreleased songs taken from the album sessions, rough mixes, and some drum & bass tracks. This exclusive set comes packaged in two separate clear jewel cases accompanied by high quality printed booklets.

The Collector’s Edition [Art Book + 2CD] is a beautiful 60-page, full colour softcover book, bundled with the Deluxe Special Edition, extensive liner notes, lyrical themes and illustrations for each song, rare photos, studio diaries and more, all exhibited within an exquisite tapestry of expanded album artwork courtesy of Fiaz Farrelly making it a must have item for those who want something a little more tangible to add to their music collection.

We will also be holding a competition on the album release day, where we shall be giving away three copies of the Deluxe Special Edition. To enter, all you have to do is email your full name to for your chance to win, with the option of having a personal message of your choice inscribed inside the booklets if you wish.

The winners will be announced on the album release day. Best of luck to everyone! Please note, the closing date for entry is March 28th

All of the music on this website has been licensed under a
Creative Commons Attribution/Non-Commercial/Share Alike 3.0 License