Infusion: Daylight Hours

With this one I spent a bit of time pausing and rewinding the song, trying to take in as much as I could. I think that there could have been a little less repetition.

I think with this one I was trying to convey what was happening in the song a bit more. This is one of my favourite songs, but I felt that it was a bit of a struggle for me. What I wrote came easy, but it was more in the articulation, I think.

Infusion’s “Daylight Hours” is from Six Feet Above Yesterday.

I hope you enjoy.

Muted sound, seemingly rotating on itself. Around this other sounds come and go. Something less muted following a slight pattern. Various small flourishes. Notes that help accentuate the idea of a beat.

Something lower in sound comes in and provides more context. It, much like what else is going on, is highly rhythmic. It follows the flow in its own way and slides in with ease. Sounds much like brass slowly rise up before going back down; shortly after what sounds like a vibraphone joins in and starts dancing its own melody on the base. It keeps itself spaced and succinct and moves organically through the scenery as it is painted.

Still scatterings of other sounds find their way, perhaps as though they are structures rising up as they are passed. The brass itself begins rising up more and holding more prominence. Notes elongate, then it falls away, letting the song fall back to focus on the first sounds. The focus holds for a brief period, then the first words appear.

A thick bass and steady beat come in and, along with the words, take over. They don’t take over the scenery so much as they guide it to somewhere else that still fits in with what came before. The vocals deliver rapidly and in a way that seems both flat and expressive. It seems as though it’s in a matter of showing imagery of an idea of what is to come and its words connect and flow along with as much ease as what came before.

The bass and rhythm stay steady and as resonant as the lyrics and their delivery. Occasional flourishes, as well as something else flowing along keep the movement going. The brass returns, as well as other songs, the percussion becomes fuller and more striking.

There is much movement and it is all in alignment in its continuation. The vocals seem to build to something and, in a slight pause they deliver their last few words of the passage in motion. The final word echoes out whilst the beat continues, engaging in interplay between cymbal, and kick and snare. The vibraphone becomes clear once more and all seems straight ahead, no speeding up and no slowing down. Brass continues to accentuate and elongate. The music is as calm as it is energised and it feels organic and absorbing. There is a sense of space and openness, but there is also a sense of focus.

The beat drops away and slowly other sounds follow suit. Eventually it is down to two sounds. Then the vibraphone loops on itself and starts to fade as the song ends.

About Stupidity Hole

I'm some guy that does stuff. Hoping to one day fill the internet with enough insane ramblings to impress a cannibal rat ship. I do more than I probably should. I have a page called MS Paint Masterpieces that you may be interested in checking out. I also co-run Culture Eater, an online zine for covering the arts among other things. We're on Patreon!
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