I recently queued up this song as I wanted to write about it. I’d only heard it a few times and forgotten about it but there was something the last time I heard it that appealed to me.

I just wanted to describe the song and I think I did that well enough. Had I gone for more than one listen, I think I would’ve been able to make this read a lot better as it’s pretty rough and reads more like a draft of a review.

Carsten Dahl Trinity’s “The Prayer” is from Mirrors Within.

I hope you enjoy.

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Keys roll out rhythm and flick here and there. Murmurings of other instrumentation come through, flowing along but almost not there. It’s a quiet and perhaps reflective moment, and there is a voice, below everything, and the keys become more  lively in a sense, or at least more busy.

All is quiet and all is low but the keys are at the forefront and they pick up speed here and there and seem to move over everything else. They move in a frantic manner at times, and calm at others. They do not scatter and form one lengthy thread, and the percussion picks up here and there too, as does the bass. Then it all softens.

This is a thickened space; thickened with dark, quiet and calm, and perhaps a sense of control. The bass starts moving in angular strikes though, much like the percussion it remains murmuring, and eventually it settles a little and the keys pick up once more.

There is a sense of build as the keys oscillate before moving into strikes lowering toward a surface. The percussion picks up and rolls and crashes whilst the bass continues its unabated motion forward.

Things lighten a little and a little bit of swing enters the keys, if only for a moment, and the sounds seem to be stuttering in a sense, but only for a moment once more. It’s not long before they move to acting in a more fervent manner, but this once more lasts only a short time.

The bass changes its form and the keys respond, and the percussion moves toward a settled state. The keys take off before lowering and it seems once more things are growing quiet. The bass becomes more prominent with the new space afforded, and the keys take off for a moment before settling once last time. Gradually everything fades; the bass trails off and the song ends.