D̼͓̋r̫᷾̑e̎ͥ̀a̫ͬ̀m̟̕͞ T᷾̕͟h̟̑͘e͔͕᷊a̰͊͆t̤̿͂e̘͐͗r̜̪̂ -̴̡̟ I̴͍̅m͐̀̀a̻ͭ͘g̱̳̑ě̟͍s̉᷁̾ A̹̿̋n̲ͤ͋d̈́̿᷀ W̡̞̪o̊ͣ̊r̺̈́̕d̻͞͡ș᷈͐ [͑͛͢P̘ͫ͠Ȃ̛̓R᷁ͣ͆T͗ͥ͝ T̖̂̚W᷁ͥ́O̬̎͠]̬̗ͣ

Here I am again to continue my review of the best album ever—or at least one of the best albums around!

  1. After the Metropolis rollercoaster, Under A Glass Moon greets us with a majestic riff that gets the layering treatment until we get to the chugga-chugga. We also get a nice dissonant bit before getting another rhythmic riff as the backdrop for the first verse. This is probably the smoothest song on the album in regards to weird meters: it sounds like a normal metal song until you try tapping your feet to it and realize the first verse is in 6/4! And while the chorus is strictly 4/4, the instrumental section tries some stuff like 11/4—you may not notice it at first, as it sounds like two bars in 4/4 followed by one in 3/4—and 7/8, one of those odd (as in opposition to even) meters that feels like a 4/4 meter that skips half a beat every bar. As a bonus, we get some other cheesy keyboards in the second verse!
  2. Wait For Sleep starts piano and pads, and stays there. I̭t᷉ àc͈t̂ủa͛l̓l̪y̔ a᷉c͌ṫsͣ a̰sͯ a͡ p̃r̶e᷿l͙uͨd̏e᷾ t̺ȏ tͬh̓e̝ nͮe͌x̱t̆ t͝r̄a͉c͗k᷄,̟ t̝͚ͬh͔͝ͅa̦̿͡t̖̉ͮ w̡᷾̈́i̺̿͑l̲̲᷀ḽ̷͗ r̓᷇᷇e̱̙͞u̙᷀ͅs̷̺̈́e̖͔͔ ṡ̘̃ő̙͆mͮ̈͝e͇ͯ͘ ȏ̮ͦf̧̦̹ t̪̪̾ḫ͇̰e͍᷿͒ m̵̺ͪo̰̭̹t̗̊͟i᷁ͦ͞f͚̀ͤs᷇ͪ᷄ f̙́͋o͉ͤ̚u͍͘͜n̢̹͋d͉̓͜ h̸̭̪e̛̖͐r᷀ͫ͒ë̥̱.̢͎ͦ T̳̃͟h͉͙̼eͭͭ͢ m̢̕͟͏̛̬͐͘͢ą̷̷̶͎̰̪ͭ͑ͦ͝i̽͏̷̷̙̪ͫ́᷀͜͞ň̶̥͠͡͠͞ ̨᷊᷁͂̕͟r̸̡̞͓ͥ̅͜҉҈į̸᷂̖᷃͏̵͏̼f̷ͦͮ͞͠f̶̸̗̩̦́̅̉̕͟͜ ̴᷊̈́ͩ̕͞ẁ̧̼͎͕̊̋̇͝͞͞a̸̴̧̜̤͋ͭ͘ͅn̸̸̍᷇̋t̵̷̨̘᷂̔́᷈̕͟͝s̷̷̷̴̹̊͑ͪ̿᷈͢ ̔͠m̡̡͓̋̐͜͝ē̷̴͕̦̦̕ ̬̀̅͜d̛᷃̒̏͞e͚̺̕͘͜a͍͒ͦ́᷉͘͡d̷̢ͤ᷀́͘͜͟͏ ̭͎̀ͧ̀͠a̡͎̘᷉̕p̗᷀́ͦ͡҉̲҃͜p̷̵̧ͫ᷾̀̕a̢̪᷃̋͡r̵̷̡͇᷂̩͑͘͞͠͞e̢̢̛̗͔̋̿͡ͅn̨ͨͧ́̀̄͟͠͞t̢͚᷃́ͬ̓̕l̢̽̎͏̤ͯͪ̀͘ÿ̵̶́̃͌̂ͩ̀͢͟͠.̶̡̡̹̜̥͎̑᷅͘͞.̢̡͙.̶̲̿͗̀ ̵̢᷁̓͘͠c̢̢̛̜̘͏̹h̷̵̄̾ͧ̋͘̕͝͠͏ẽ̛̲᷾͜ç̸̛̺᷾̃͛͘͜͢͡k̴̷̨᷄ͯ͜͜ ҉̜҅͑͢͞f̴̤͎́͢ơ̴̮͋̅͐̀̕͞ŗ̴̱ͯͦ͡͞ ̸͎͏ͬ̔͢y̴̵̴̴͇̤̬ͨ́o̧̡̐ͮ͡u͈̅͘͠ͅṟ̨̧ͧ͌s̶̛͊̐͜e̶̸̢̨̊͒͘l̢ͭ᷆̕͡f̶̶̨̧᷊̏͒᷄́͜͡:ͫ҉҅ͪ́̏͠
    ą™̑¯«ȳjŨ̼ ñœĢHúy͚Źɘ
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