The choruses and bridge particularly are some of the finest instrumentation the band has written. HДIL ДИD FДЯЭШЭLL TO БЯITДIИ (Hail and Farewell to Britain) might sound like a long, simple-structured song, but it offers a significant amount of quality from the bass and guitar riffs to the melodic singing, and to the subject of the song itself, which who would've thought they’d sing about Britain out of all the things. Not a lot to say about this particular track as its other half is repetitive. It's mostly about the heavy, distorted bass riffs, though the song's bridge is melodic. SHЭ БUЯИЭD MЭ DOШИ (She Burned Me Down), as long as it is, it's like the first two songs. Then the remaining four and a half minutes end in an explosive guitar solo and some samples - and also Peter's longest scream - yeah. My favorite part of this "religious" type of lyrics (which I suppose it's part of Peter finding his religion again) starts where you have a few natural harmonics, as the bass and guitar start riffing later on, with some of the guitar's power chords striking with the chorus effect on. So this so-called first section ends at 5:50. Since this is also a complex song from the band, it’s hard to analyze its structure. A dark, heavy intro like THЭ PЯOFIT OF DOOM (The Profit of Doom) that can tear your insides out without hesitation, but it all comes down to some clean bass lines and builds the song’s momentum again, as the song progresses. Just because I Know You're Fucking Someone Else is fifteen minutes, it's just re-recorded. Quite frankly, it's the band's longest song, period. The long jokes: THЭSЭ THЯЭЭ THIИGS (These Three Things) is the first song to be over twelve minutes by the band since their debut album, Slow, Deep and Hard. Kind of a messy lyrical structure, but that's how masterful Peter was in his songwriting and sense of humor. The lyrics are blunter, yet still referring to the Bible like the story of Adam & Eve. ДИ ODЭ TO LOCKSMITHS (An Ode to Locksmiths) has sludginess to its sound, though the vocals are very melodic. It's the other half that has more original substance, with Kenny singing along some chorus-effected guitar notes. SOMЭ STUPID TOMOЯЯOШ (Some Stupid Tomorrow) starts off quite groovy, thanks to the bass and drums. Featuring Tara Vanflower of Lyica, she adds more beauty to this riffingly and heavily distorted, hard rock-ish song in the bridge. HДLLOШЭЭИ IИ HЭДVЭИ (Halloween in Heaven) pays its respect for the dead, and specifically friends of the band, like Dimebag Darrell. His vocals also hit those high and low ranges for his age, as the backing vocals in the choruses added an extra flavor to that department. Peter riffed the bejesus out of that song and dominated it in the mix, as the drums greatly reinforce the momentum. Although TЯIPPIИG Д БLIИD MДИ (Tripping a Blind Man) isn't a short song, its substance is rather limited, compared to the longer songs. The short jokes: starting with the title track: DЭДD ДGДIИ (Dead Again) already reveals a new taste from the band just by hearing those strings scratched on the fretboard and the heaviness from the bass's distortion, while the rest of the song is groovy and melodic. This is also their longest record in its original tracklist. Other than that, TЧPЭ O ИЭGДTIVЭ (Type O Negative) will have their last laugh with Rasputin and some Russian characterization with this album perfecting their sound and production for the final time in their careers, being more doom metal than gothic metal, yet containing all their laughter and poetic justification, and sounding more melodic and somewhat sludgy. Besides, he was reuniting his old band, Carnivore, in 2006 and went out to tour in Europe. Maybe he thought about it or just wanted to hide from society for a while, but he had his ups and downs along the way and returned. Between Life Is Killing Me to this album’s release, rumors were surrounding the possibility of Peter's death - until it wasn't true at all.
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