Forsaken (Penitent Version)

Progressive Metal, Microtonal Jazz Fusion

Movement I: The Prophetic Agony
[Opening: A haunting, clean guitar melody in 7/8. Atmospheric dissonance. The vocals are a whisper-thin tenor, building into a desperate, soaring mid-range.]
My God, my God, why hast thou forsaken me? why art thou so far from helping me, and from the words of my roaring?
O my God, I cry in the daytime, but thou hearest not; and in the night season, and am not silent.
But thou art holy, O thou that inhabitest the praises of Israel.
Our fathers trusted in thee: they trusted, and thou didst deliver them.
They cried unto thee, and were delivered: they trusted in thee, and were not confounded.
Movement II: The Scorn of Men
[Musical Shift: The drums enter with heavy, syncopated double-kick patterns. The guitars shift to high-gain, palm-muted chugging. Harsh, gritty vocals for the "reproach" sections.]
But I am a worm, and no man; a reproach of men, and despised of the people.
All they that see me laugh me to scorn: they shoot out the lip, they shake the head, saying,
He trusted on the Lord that he would deliver him: let him deliver him, seeing he delighted in him.
Be not far from me; for trouble is near; for there is none to help.
Many bulls have compassed me: strong bulls of Bashan have beset me round.
They gaped upon me with their mouths, as a ravening and a roaring lion.
Movement III: The Dissolution of the Flesh
[Musical Shift: Tempo slows to a funeral doom pace. Every beat feels like a hammer blow. The bass guitar is distorted and prominent. Vocals are guttural and strained.]
I am poured out like water, and all my bones are out of joint: my heart is like wax; it is melted in the midst of my bowels.
My strength is dried up like a potsherd; and my tongue cleaveth to my jaws; and thou hast brought me into the dust of death.
For dogs have compassed me: the assembly of the wicked have inclosed me: they pierced my hands and my feet.
I may tell all my bones: they look and stare upon me.
They part my garments among them, and cast lots upon my vesture.
Movement IV: The Cry from the Tree
[Musical Shift: A sudden silence, then a wall of sound—blackened death metal intensity. High-pitched, agonizing screams. This is the climax of the suffering.]
And about the ninth hour Jesus cried with a loud voice, saying, Eli, Eli, lama sabachthani? that is to say, My God, my God, why hast thou forsaken me?
After this, Jesus knowing that all things were now accomplished, that the scripture might be fulfilled, saith, I thirst.
When Jesus therefore had received the vinegar, he said, It is finished: and he bowed his head, and gave up the ghost.
Movement V: The Great Transition (Instrumental)
[Musical Shift: A 5-minute technical instrumental bridge. It begins with chaotic, dissonant shredding representing the tearing of the temple veil and earthquakes, then gradually modulates from minor keys to a triumphant, Lydian-based major progression. Polyrhythms symbolize the shifting of the old world to the new.]
Movement VI: The Kingdom Declared
[Musical Shift: Power metal aesthetics. Fast, galloping rhythms. Clean, operatic, multi-tracked "choir" vocals.]
For the kingdom is the Lord's: and he is the governor among the nations.
All they that be fat upon earth shall eat and worship: all they that go down to the dust shall bow before him: and none can keep alive his own soul.
A seed shall serve him; it shall be accounted to the Lord for a generation.
They shall come, and shall declare his righteousness unto a people that shall be born, that he hath done this.
Movement VII: The Apocalypse of the Lamb
[Musical Shift: Symphonic Prog. Orchestral swells, heavy organ usage, and a majestic, slow tempo. The vocals are thunderous and declamatory.]
And I beheld, and, lo, in the midst of the throne and of the four beasts, and in the midst of the elders, stood a Lamb as it had been slain, having seven horns and seven eyes, which are the seven Spirits of God sent forth into all the earth.
And he came and took the book out of the right hand of him that sat upon the throne.
And when he had taken the book, the four beasts and four and twenty elders fell down before the Lamb, having every one of them harps, and golden vials full of odours, which are the prayers of saints.
Movement VIII: The Eternal Doxology
[Finale: Maximum volume. A massive wall of sound including bells and synthesisers. The song ends on a sustained, resonant chord that fades out over 60 seconds.]
And they sung a new song, saying, Thou art worthy to take the book, and to open the seals thereof: for thou wast slain, and hast redeemed us to God by thy blood out of every kindred, and tongue, and people, and nation;
And hast made us unto our God kings and priests: and we shall reign on the earth.
Saying with a loud voice, Worthy is the Lamb that was slain to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing.
And every creature which is in heaven, and on the earth, and under the earth, and such as are in the sea, and all that are i

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Movement I: The Prophetic Agony [Opening: A haunting, clean guitar melody in 7/8. Atmospheric dissonance. The vocals are a whisper-thin tenor, building into a desperate, soaring mid-range.] My God, my God, why hast thou forsaken me? why art thou so far from helping me, and from the words of my roaring? O my God, I cry in the daytime, but thou hearest not; and in the night season, and am not silent. But thou art holy, O thou that inhabitest the praises of Israel. Our fathers trusted in thee: they trusted, and thou didst deliver them. They cried unto thee, and were delivered: they trusted in thee, and were not confounded. Movement II: The Scorn of Men [Musical Shift: The drums enter with heavy, syncopated double-kick patterns. The guitars shift to high-gain, palm-muted chugging. Harsh, gritty vocals for the "reproach" sections.] But I am a worm, and no man; a reproach of men, and despised of the people. All they that see me laugh me to scorn: they shoot out the lip, they shake the head, saying, He trusted on the Lord that he would deliver him: let him deliver him, seeing he delighted in him. Be not far from me; for trouble is near; for there is none to help. Many bulls have compassed me: strong bulls of Bashan have beset me round. They gaped upon me with their mouths, as a ravening and a roaring lion. Movement III: The Dissolution of the Flesh [Musical Shift: Tempo slows to a funeral doom pace. Every beat feels like a hammer blow. The bass guitar is distorted and prominent. Vocals are guttural and strained.] I am poured out like water, and all my bones are out of joint: my heart is like wax; it is melted in the midst of my bowels. My strength is dried up like a potsherd; and my tongue cleaveth to my jaws; and thou hast brought me into the dust of death. For dogs have compassed me: the assembly of the wicked have inclosed me: they pierced my hands and my feet. I may tell all my bones: they look and stare upon me. They part my garments among them, and cast lots upon my vesture. Movement IV: The Cry from the Tree [Musical Shift: A sudden silence, then a wall of sound—blackened death metal intensity. High-pitched, agonizing screams. This is the climax of the suffering.] And about the ninth hour Jesus cried with a loud voice, saying, Eli, Eli, lama sabachthani? that is to say, My God, my God, why hast thou forsaken me? After this, Jesus knowing that all things were now accomplished, that the scripture might be fulfilled, saith, I thirst. When Jesus therefore had received the vinegar, he said, It is finished: and he bowed his head, and gave up the ghost. Movement V: The Great Transition (Instrumental) [Musical Shift: A 5-minute technical instrumental bridge. It begins with chaotic, dissonant shredding representing the tearing of the temple veil and earthquakes, then gradually modulates from minor keys to a triumphant, Lydian-based major progression. Polyrhythms symbolize the shifting of the old world to the new.] Movement VI: The Kingdom Declared [Musical Shift: Power metal aesthetics. Fast, galloping rhythms. Clean, operatic, multi-tracked "choir" vocals.] For the kingdom is the Lord's: and he is the governor among the nations. All they that be fat upon earth shall eat and worship: all they that go down to the dust shall bow before him: and none can keep alive his own soul. A seed shall serve him; it shall be accounted to the Lord for a generation. They shall come, and shall declare his righteousness unto a people that shall be born, that he hath done this. Movement VII: The Apocalypse of the Lamb [Musical Shift: Symphonic Prog. Orchestral swells, heavy organ usage, and a majestic, slow tempo. The vocals are thunderous and declamatory.] And I beheld, and, lo, in the midst of the throne and of the four beasts, and in the midst of the elders, stood a Lamb as it had been slain, having seven horns and seven eyes, which are the seven Spirits of God sent forth into all the earth. And he came and took the book out of the right hand of him that sat upon the throne. And when he had taken the book, the four beasts and four and twenty elders fell down before the Lamb, having every one of them harps, and golden vials full of odours, which are the prayers of saints. Movement VIII: The Eternal Doxology [Finale: Maximum volume. A massive wall of sound including bells and synthesisers. The song ends on a sustained, resonant chord that fades out over 60 seconds.] And they sung a new song, saying, Thou art worthy to take the book, and to open the seals thereof: for thou wast slain, and hast redeemed us to God by thy blood out of every kindred, and tongue, and people, and nation; And hast made us unto our God kings and priests: and we shall reign on the earth. Saying with a loud voice, Worthy is the Lamb that was slain to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. And every creature which is in heaven, and on the earth, and under the earth, and such as are in the sea, and all that are i

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