Track By Tracks: Adelon - Resurgence (2024)

1. Fleshless Vertebrae:

The lyrics in this song are about climate change and more specifically, what would happen if a huge catastrophe happened and would force us to change the very foundation of our anatomy in order to survive.

The line “Every season changes its motion, natural wisdom” means that the Earth will regulate itself regardless of what we want/think if needed. We might not get acclimated to those changes though. The phrase “Ancient beings whisper their secrets, scattered to the wind, legends of the older one become real” is our way of showing the hypothetical danger of old viruses or sickness stuck in the permafrost that would be released in the air if the ice kept melting.

Musically, we started off with the first riff in ¾ that uses notes that are close to one another, which creates a bit of dissonance altogether. We kept this idea of tension using dissonances during the first half of the song to communicate this suffocating atmosphere. We gradually added more harmonic elements in order to open the songs during the second half, adding a guitar lead and then a sax solo just before the last part of the song.

For this EP, we worked with Alex Sedin who co-produced, mixed, and mastered the final product. Alex helped shape different layers in these songs, like adding synths here and there, which is something we have not done to this extent before. In the end, those synth elements became a big part of the EP, giving a wider soundscape depending on the part. For this song, we also added some orchestra and choir at the end, in order to give an epic finally to the song. It’s by far one of our most diverse-sounding tracks to date.

Fun fact, the watery noise and weird voices at the beginning are made by me in my WC. I filled my sink with water, put a mic next to it and immersed my head in the sink in order to make this underwater scream.

2. Monisme:

"Monisme" tells the story of a solitary person seeking meaningful connections but getting drawn into harmful relationships or institutions. The lyrics remain open-ended to allow personal interpretation, using clear imagery toward the end.

Maybe a bit more melodic than the other songs, I was very into Fallujah at the time of writing this song. As for most songs, the opening riff was the first thing I wrote for the song. It’s a pretty fast part with lots of weird short stops in between lines. Again, some rhythmic and melodic ideas are reused during different parts of the song. For example, the chorus, solo section, and clean part use the same harmonic content, while the chorus and the riff just before share rhythmic elements. It’s nothing new or game-changing, but it helps the song feel more whole and connected, in my opinion.

3. Crimson Luminescence:

The song addresses monotony and the internal struggle that accompanies a hollow and repetitive existence. It explores themes of despair, the inevitability of decline, and the loss of self. From the beginning, the lyrics warn not to be deceived by false glimmers of hope, symbolized by the "false light." This deceptive light leads only to an endless path of despair. The refrain "nothing will ever be really complete / every day is a departure that begins" captures the cyclical and unfinished nature of life in monotony. The dark path that stretches ahead embodies this eternal repetition, where hope is continuously crushed by a "red light" symbolic of danger and destruction.

We try to keep little musical motifs in all of the songs, it often helps to glue together different parts in that kind of style. Here there are two rhythmical motifs that come back many times in different forms and lengths. The main one is the opening riff, which uses the same rhythmic basis as the riff during the chorus. The other one is the 16th note pattern used at 00:35. This idea is used in three other riffs during the song, not always in full but the concept and accents stay the same.

4. Cycles:

The lyrics are about being in a dark place and being afraid of facing trouble in order to grow. The title of the EP originated from this song too. The title “Cycles” is about the ever-changing nature of things and knowing that problems are always going to appear whether we like it or not. It’s easier to turn a blind eye to them, but it might be healthier to face these issues, cuz they’ll come back to haunt you.

For this one, I was very inspired by the “Blackwater Park/Watershed” era of Opeth and some harmonic and melodic ideas found in the amazing Swiss band Virvum. I tried to combine this in a tech-death context. Opeth sometimes uses major chords and open strings in a very dark way, something I always found pretty cool and later tried to implement in this song. The acoustic part at the end is a big Opeth reference for those who know about what song I’m talking about.

One of my personal goals when writing for this kind of music is to incorporate a wide spectrum of sound, be it harmonic or textural, while not overwhelming the listener. It’s a pretty dense type of metal, it’s tricky to make music that’s both powerful and aggressive while being a bit deeper and thought out at the same time. We’re all fans of Gojira, Decapitated, or Revocation in the band, and we feel like that’s the kind of band that found a good balance between all those aspects.