Introduction
The Procession is the first full length song on the album, coming in at just under five minutes. It carries the torch of ‘big opener that’s not technically the opener’ from City Escape on the last album. We got the introduction with a smaller piece and now we have a full band to debut what the bulk of Act II really is.
Hunter, now an adult, has just found his mother passed away in her sleep. He has spent his whole life with her, and only her. This song explores some of Hunters first decisions he makes when truly alone, as he begins his true journey. A procession is a term for a congregation moving as one, usually at a funeral or parade. In this song we will see Hunter lay his mother to rest, acting as a singular procession.
Into The Lyrics
Lyrics
The blood
How it paints such a scene
Foul routine, pedigree
Mouth agape, stuttered hands
Attempt to flail and finally agreeHer heart ceases it’s rhythm
Somewhere trumpets decay
In the front by the well, wishing wishes
That deny the stale smell in the /hay//Hey/ there, no one cry
Place these over her eyes
We are broken, alone
We are broken, alone(She’s inanimate; bloodless elegance)
Fatal fascination breeds a bloom of misery
(Helpless hiding tongues, bathed in revulsion)
Lies unfinished, beauty wilting premature
You can’t be too sure
No, you can’t be too sureReserved, always playing the part
Of a boy left alone
He proceeds to the road beyond the home
He’d learned to call his own(She’s inanimate; bloodless elegance)
Fatal fascination breeds a bloom of misery
(Helpless hiding tongues, bathed in revulsion)
Lies unfinished, beauty wilting premature
You can’t be too sure
No, you can’t be too sure/One life for another/
/One life or another/
/One lie for another/(She’s inanimate; bloodless elegance)
Fatal fascination breeds a bloom of misery
(Helpless hiding tongues, bathed in revulsion)
Lies unfinished, beauty wilting premature
You can’t be too sure
You can’t be too sure
Analysis
Many people believed Ms. Terri to be murdered by the men working for the Dime, due to this song. ‘The blood, how it paints such a scene’ has pretty good imagery for that, but Casey has come out recently saying that she was not murdered. It even refers to her later in the song as ‘bloodless elegance’, so I’m going to assume the first line here isn’t meant to be taken literally. ‘Foul routine, pedigree’ seems to be talking about how death is a reoccurring part of life, and how it mirrors itself with each generation passing. The next part, ‘Mouth agape, stuttered hands attempt to flail and finally agree’, shows us that her death wasn’t exactly peaceful though. She must have suffered from a health incident similar to that of a heart attack. I’ve seen others suggest that she may have gotten a deadly disease through her line of work, although I’m not educated enough on STI’s to narrow it down further. In the graphic novel, we see her bloody hand print on the window, although done in a way to suggest that there isn’t literally blood on the window, but rather that she was ‘red-handed’, a symbol used throughout the story to show that someone is either guilty, or at least not innocent in the sense that Hunter is.
‘Somewhere trumpets decay’ might be nodding to the opening of The Death And The Berth. Hunter is faced with his loss, and is currently in denial. He’s outside of his home wishing that this hadn’t happened, wanting to continue how things were.
The prechorus here gives us wordplay on hay/hey, although not for story purposes, but simply to have the word be used in both the final line of the verse and the first line here simultaneously. The rest of the lines continue to show us the grief Hunter is going through. In the graphic novel, we see Hunter digging her grave during his reflections. Her grave is located right under the Tree, the towering figure that emulated the father he never knew.
‘She’s inanimate; bloodless elegance’ depicts Ms. Terri prepared for her final rest. The death of Hunters mother has caused misery for him in time to come. ‘Bloom’ is an important use of phrasing here because other references to flowers and budding come up in the future. Ms. Terri’s lies were never explained, and she was not able to give Hunter the closure that he needed. He buries his mother in the grave he made for her. ‘Always playing the part of a boy left alone’. Hunter is naive, and whether intentionally or not, plays victim. He will use these negative events in his life to excuse his actions later, which just puts him into more bad situations.
The next part repeats the line ‘One life for another’, starting it at different times in the measures as a sort of polyrhythm over the rest of the band. I believe this is done intentionally, as I’ve highlighted in the lyrics section. I think this phrase can carry different meanings depending on how the listener hears it. ‘One life for another’ shows us that while Ms. Terri is passed, Hunter can now begin his own life. This goes back to the meaning in the title of The Death and the Berth as well. The flame is gone, but the fire remains. Pass the torch to the next generation. ‘One life or another’ could mean that while it could have been someone else who passed, someone would have died nonetheless. This comes up as a theme more in future acts. ‘One lie for another’ goes back to Ms. Terri’s hidden life. While Hunter may discover new things about his heritage, he will also uncover more lies in new places, and as those are revealed, yet more lies.
Into The Music
I transcribed this song in full here if anyone wants that, both .gp and .pdf versions available.
This song shows the progression musically from Act I to Act II very well. A lot of this song writes like it could have been part of Act I, while also showing some new variation in Caseys vocals. It really feels like a refined version of an Act I song. The only story value this song has hidden in it musically, is the fast rhythmic drumming at the very end. This later comes back in the song ‘Dear Ms. Leading’.
This section has turned into me describing what the song sounds like, which isn’t really necessary if you can just listen to it on your own. I’m going to try and reserve this section for elaborating on story pieces hidden in the music, and for transcriptions when I do them. On occasion if I find something really interesting in the music that isn’t story related I’ll include a section on that, but I don’t want to end up describing that guitars are playing during the chorus and that the verse is just bass and drums. If anyone is interested in the theory of a song feel free to send me a message, as I’ve worked through most of these songs already to some degree to look for recurring themes and progressions.
Personal Thoughts
Hunter truly makes his first steps as an adult here and this is the last point in the story where he is safe at home. The next song is a mammoth compared to this one, but I’ll try to get through it as soon as possible.
If you want to stay updated you can subscribe by email in the footer of the page, and if you enjoyed this and want to support the site you can donate in the footer as well. The transcription in this song was done as a commission for someone who read a previous post, so if there’s a song in the Acts that you want done (or any song really) be sure to let me know!
This song plants us right in the middle of war. Immediately thrown into hard hitting riffs with horns and guitar, this song plays the parallel to City Escape and The Procession in previous Acts; although already we can tell that this setting will be chaotic and aggressive.
Act III: Life and Death begins with Writing on a Wall, an a cappella that mirrors the Act I opening track, Battesimo del Fuoco. Hunter, in an attempt to remove himself from the City that reminded him so much of his recent heartbreak, has gone overseas to join a war.
Vital Vessels Vindicate is the last piece of Act II, and with it we see the last of the City, Ms. Leading, and the Pimp/Priest. At least for a while. After Hunter’s breakup with Ms. Leading, and subsequent arguing and heartbreak, he decides to leave the City behind him. Hunter enlists in a war happening overseas, and departs from his home once more.
With the damage done, we move onto a song that gives us retrospect. Hunter and Ms. Leading spent a year together, only for it to end in hurtful words said behind the safety of letters. Black Sandy Beaches is a song that shows us a character removed from the story, reacting to these letters of severance.
If Where The Road Parts was a reflection of Hunter’s depression during the breakup, then Dear Ms. Leading is the portrayal of his anger. Throughout Where The Road Parts we see him become bitter in his sadness, and that bitterness soon takes hold of him as he begins to lash out. Dear Ms. Leading is surprisingly full of energy, maybe beating out the rest of the tracks on the album in that regard. Act II is a good summation of the angst in young love, and this track captures Hunter’s emotions with a burst of force to propel us through this departure.
Act II has just reached a climax with Red Hands and these last four songs deal closely with Hunter and his emotions during the aftermath. Where The Road Parts, Dear Ms. Leading, and Black Sandy Beaches are all very emotionally raw in different ways and serve as a tripartite resolution for Act II.
The characters have fallen into a rhythm the last few months, and Hunter still somehow doesn’t know that his girlfriend sleeps with other people for a living. Like he’s literally driving her directly to their house. He is being paid to bring her to their door for house calls. These homes must have some really good insulation, you’d think he’d be able to hear something. Anyways.
Blood of the Rose takes it’s turn in the story by giving us some fancy foreshadowing during the montage scene. All of the participants have been dealt their hand and now they play over the course of a year, some with a stern elegance and some with absolutely no concept of a poker face.
Ms. Leading’s story may not be the focus of the Acts, but there are times where she takes the stage. In Evicted, we learn more about her, as Hunter takes a step to the side, gets a job and learns to drive. This song is from the perspective of our love interest, who at this point is becoming a main character. After she encounters Hunter she’s left to her feelings and thinks about her past, as she tries to get a perspective on her situation.
Hunter met a character of interest, and she took him on a small adventure through her life in the City. Ms. Leading led him through the Church to the Dime, and then upstairs where they shared an embrace. Hunter is unaware of his current situation of having slept with a sex worker, and she slips away before he stirs awake. Hunter’s first day away from his cabin consisted of burying his mother, hitching a ride with some unfamiliar people on a train, wandering around a large new city, going to the club, and having sex with a mysterious woman he had just met. His one day after leaving home was more eventful than the entirety of last year for me.
The Bitter Suite III: Embrace continues are adventure through the Dime with Ms. Leading and Hunter. The two of them have just met, and our protagonist is being lead around by his new chaperone. Meeting by the Church, they made their way to the Dime and watched the ladies there put on a performance, with a brief on stage appearance from the Pimp/Priest.
The Bitter Suite is a series of songs, with the first three being here in Act II. The first two songs are paired together, seamlessly transitioning from Meeting Ms. Leading into Through the Dime. In part I Hunter talks about his first impressions upon meeting our new character, as well as some dialogue between the two. As we segue into part II, we get some of the Pimp/Priest talking about the Dime as Hunter visits for the first time.
Though we’ve gotten plenty of insight into the ploys of our antagonist, this song is a proper introduction to his lairs. Acting as a Priest at the Church during the day and a Pimp and the Dime at night, he manipulates his clients between each location, profiting off of their insecurities. Hunter has just made his way to the City after his curious encounter with the Oracles. He’s wandered in the direction of the church bells, and found himself face to face with the Church, which is not to far from the Dime.
Hunter manages to find the next step in his journey on the Delphi Express. Left alone in solitude, he has chosen to make his way to the world beyond. He finally makes his way to the train station only to find that he has no idea where he is. This song follows The Lake and the River’s interlude that signaled the oncoming train, and we get to meet some new characters.
The Lake and the River is a mammoth of a song and a demonstration of everything good about Act II. This song is over nine minutes and doesn’t drag one bit. Exciting but not overwhelming, The Lake and the River moves through each section seamlessly and gives the impression of a standard song no longer than five minutes. If The Procession was the musical transition from Act I to Act II, then The Lake and the River pulls us straight into Act II with Casey’s refined skills at creating this rock opera.
The Procession is the first full length song on the album, coming in at just under five minutes. It carries the torch of ‘big opener that’s not technically the opener’ from City Escape on the last album. We got the introduction with a smaller piece and now we have a full band to debut what the bulk of Act II really is.
The Death And The Berth starts the album with so much to be said for an instrumental track that doesn’t even touch the first minute mark. The album skips forward a few years to Hunters late teens, although not much has happened in the time between. Living with his mother in isolation near the Tree and the Lake, he has lived his sheltered life in wonder of what’s beyond. The album is twice as long as Act I (literally 15 more seconds would have been exactly double), so we can expect a lot to happen in Hunters near future.
This maritime story set in an apocalyptic future comes to us in the medium of, you guessed it, a concept album! The first full length album by the London-based band Haken, Aquarius is a story of tragedy regarding the exploitation of a mermaid, a cataclysmic natural disaster, and tackles themes of love and self sacrifice.
As the Act comes to an end we’re met with a somber piano piece, and a hidden track at the end that’s not really even a track. The River North leaves us anticipating the future of Hunter and where his life will lead us, with subtle foreshadowing of what’s to come. In this entry I’m going to do my best to summarize the events of the album, as well as add in anything that wasn’t mentioned in an earlier post.
An emotional ballad riddled with hints of nostalgia, His Hands Matched His Tongue takes us back to Hunter’s story. We have a song that seems pretty straightforward, but looking closer at the material we have things get way more confusing. I don’t actually even know if I’m sure what’s going on here. Is this supernatural or not Casey? Stop confusing us. When we last left our hero, he was literally crying in a ditch after falling out of a tree. Isn’t childhood fun?
The Pimp And The Priest is a sinister anthem dedicated to our main antagonist. It paints an image of his reputation, while setting up a few themes that will be seen throughout the story. This song acts as a character introduction, removing us from Hunter's childhood story for a moment.
Moving into the latter half of the Act, 1878 is full of foreshadowing events to come. It’s the longest song on the album, but due to it’s excellent pacing you wouldn’t even know (the album is also pretty short, so that helps too). Even when things pick up during the chorus, it feels like this song is floating by, nothing too drastic, while always moving forward.
The Inquiry of Ms. Terri gives us more insight into the characters that we’ve met so far. This song has a slower pace than City Escape, but there seems to be a lot more going on both musically and lyrically. We get a clear picture of the relationship between Hunter and his mother here, with an ambiance in the music to match the ominous tone of the story here.
City Escape is the first song in the story to feature a full band, somehow still managing to give us a new idea of what to expect three songs in. It’s also the first song to really have an event we can put on a timeline. This is where the core of the story begins to take shape, and this is the cool chase scene that you see in the beginning of action movies.
The Lake South is an instrumental track that acts as sort of a continuation of Battesimo del Fuoco. It continues the pace of opening the album, but transitions from an all vocal piece to an instrumental piece.
Battesimo del Fuoco, or ‘Baptism of Fire’ as translated from Latin, is the first track of the first act of the six part saga that is The Dear Hunter. The story observes a boy named Hunter, from his birth to his death.