Despair (2023), by Satis

In the past, I’ve used the category “Music I Love” to discuss music that has been particularly important to me over the course of my life. Anything from Mozart to Metallica, I’ve often mentioned the significance of their emotional response in me, or how it meant something at a particular time of my life.

This time, however, I’m changing it up slightly. While this post is intended to highlight music that is indeed very important to me, this time the music I’m discussing is … my own!

It may not have been made entirely clear to everyone over the course of my blogging tenure, but my background and education is in music, not writing – specifically composition. And in recent years, I’ve taken the time to reinvest in that old, forgotten passion, and write some new music.

Back in 2019-2020, I began thinking that I would like to write an album that blended the best of classical orchestration with the gritty heaviness of metal music (my two musical loves). As I began to experiment with different ideas, I realized that I could write something of a heavy metal symphony; nothing so pretentious as Deep Purple’s Concerto for Group and Orchestra, yet more focused and structured around the orchestra itself than something like Nightwish, whose music – whilst evocative and generally excellent – tends to be “orchestrated” metal. I was looking to write music that could only exist with both contrasting elements; remove one, and the other isn’t sufficient to carry the music alone.

And so was born Despair; a five-track, hour-long album of metal and orchestra, exploring themes of darkness and misery through music. It took a long time – over a year – to complete the first draft, and a year further to fine-tune the sounds, hone the orchestration, and get it to a standard where I felt it was publishable.

And whilst the follow-up, an album soon-to-be-released called Shade Under Trees of Longing, has (in my opinion) a far superior production, I am nonetheless proud to announce that Despair is now live and available to stream through all your favorite platforms: Apple Music, Spotify, iTunes, and more!

New Music Is Available!

So … when I’m not writing, it seems, I’m writing music. Whilst The Redemption of Erâth has been on pause for a few months, I’ve been revisiting some music I created between 2019 and 2021 – an album of symphonic metal called Despair.

Recently, I upgraded the orchestral sample libraries I use, and re-recorded all five tracks of the album using EastWest’s phenomenal samples and sound engine. Whilst the final result may not sound exactly like a live orchestra, it’s (in my mind, at least) pretty damn close.

So without further ado, I present to you: Despair, a suite of orchestral heavy metal in five parts, channeling the deepest, darkest emotions of human nature!

1: Depression

Depression is the first track from Despair, opening with quiet strings and horns, building to crescendo before the crushing heaviness of the metal band comes crashing in. Segueing to a softer, melodic verse section, things eventually take off with pounding guitars and drums, intertwining a full orchestra through rises and falls until a heavier recapitulation brings us to the outro – soft and quiet again, building into a sudden wall of orchestral noise and a thundering drum punctuation that leaves on a cliffhanger, waiting for the next track.

2: Anger

Bursting in with furious strings and brass, Anger ups the pace and energy tenfold, a full orchestra blasting away until dropping out suddenly to allow for the metal band to take over with churning, grinding riffs. Never giving in to a slower beat, the song carries forward in a kind of scherzo-and-trio format, building to a climax before a middle section that leads again with devastating riffs, before recapitulating to the opening. Finally drawing to close with every instrument at full tilt, Anger is a crushing ode to unbridled fury.

3: Fear

Opening with a rumbling, unsettled bass line, Fear is deliberately the most disjointed piece of the suite, wavering between numerous time and key signatures throughout. There are moments of melody interspersed between longer passages of chromatic atonality, but the overall mood is one of anxiety and unsettled, indescribable fearfulness.

4: Grief

Almost entirely orchestral (the band comes in only briefly at the very climax of the piece), Grief takes us through a journey of pathos and heartbreak, with sweeping strings and devastating horn lines drawing influence from the raw emotion of the greatest of classical composers – Tchaikovsky, Beethoven, and more. From the soft, distant opening to the thundering timpani that bring the song to a heaving climax of sadness, Grief will tug at your heartstrings and (hopefully) give you chills at all the rights moments.

5: Despair

The epic conclusion and title track, Despair opens with a hammering timpani roll and huge, crashing chords from the band and full orchestra – nearly a full two minutes of opening to a 20-minute track that winds through many layers of instrumentation before coming to a quiet close halfway-through, only to burst back into life with grand horns and strings sustaining the melody over churning guitar riffs. Through a varied development we finally return to a grand reprise of the opening, announced with a huge gong crash, before moving on to the closing of the song, and the album, with a revisiting of the very opening of Depression, bringing the full album to a close.

Of a Great Person

About a month ago, the world lost a soul. Not a celebrity; no one famous. One of thousands who die daily for no reason other than it was their time to go. It was no global catastrophe, no tragic demise; simply the passing of someone who lived their life simply, selflessly, and straight to the very end.

Death is oddly easy to come by, yet so far from easy for the people who knew the deceased. Funerals, wakes, memorials and services and wreaths and tombstones … all these efforts are done not for the person no longer with us, but for the people left behind. And it kind of sucks, because the last thing you want to do when you lose someone is worry about funeral arrangements and burial costs. Mounting bills and gathering family last-minute hardly fills the void left by the departed in your heart, but these processes perhaps hold some value, because they’re a painful reminder that in the dead’s absence, life goes on. The world doesn’t stop turning. Work gives you a few days off, and then it’s back to the grind.

So before I discuss what I think was important about the departed, I need to recognize my wife’s strength, resilience, competence and willfulness as she laid her father to rest. She mourned and wept, and amidst it all simply made shit happen. No one asked her to, and she didn’t need to be asked; there was little doubt as to who would bear the heaviest burden of actually giving her father the rest he deserved in the best way possible. Her family attended what she arranged.

This strength didn’t grow in a vacuum. My wife has led a difficult, troubled and at times traumatic life, but her strength grew from the person who raised her: her father. For whatever suffering she’s dealt with, her father almost certainly dealt with just as much. From a lonely childhood to war service and the mental breakdown of his wife early in their marriage, he suffered and fought for fairness and justice like no one I’ve ever known, and he did it entirely for his children – his legacy.

You see, whenever someone dies, you can’t help contemplate their importance; you can’t help but wonder what impact they left on the world, and if their life really mattered much – or at all. These are – on the surface – easy questions to answer when said deceased was known to the world at large; the world is immeasurably worse off for the loss of Robin Williams, or Chester Bennington, or [insert celebrity here], because of course these people made an impact on our psyches and left indelible impressions in our emotions. We miss what these people could have brought to the world, and reminisce about what they left behind. We feel like we know these people, and their deaths definitely leave a void behind.

But what about the residual importance of those deaths that are a little closer to home? What about when our father, or our brother – uncle, or grandparent – dies? What if they spent their life toiling in a factory making communications circuitry? What if they sacrificed any possibility of renown for the happiness of their own children? What if they were, ultimately, forgettable to all but their closest family?

I say this makes them not less important, but all the more so.

This argument, of course, comes down to how one chooses to measure the importance of a person’s life, but I think it’s fair to say that an individual’s significance can be told by the impact they made on others – the influence they had on the people who knew them. And in this argument, I believe that the true measure of influence is in its quality, not its quantity. It doesn’t matter that Robin Williams made millions of people passingly happy, whilst my father-in-law might have done so for fewer than a dozen folk in his life, because the depth of influence is immeasurably greater on the latter.

My wife’s father was quiet, humble and generally inconspicuous, and if you never had the chance to talk to him and get to know him, you would never guess the tragedy and trauma hidden behind his soft brown eyes. Many other men, I believe, would have walked away from similar circumstances given half a chance, and yet he spent years balancing a tenuous living and desperately fighting through courts to win his children back after their mother suffered a nervous breakdown early in their life. He abandoned career ambitions and sacrificed his personal life entirely to ensure that his children had the best life he could provide for them.

And that life he gave them formed the person who is now my wife. For as long as I’ve known her she’s idolized her father; looked up to him as an example of virtue and strength of character. She’s modeled her own life on many of his characteristics, and the upbringing of our son is a testament to his own work in raising her. He was her mentor, her confidant, her advisor and friend.

So in looking back on his life, does it matter that he was wounded in the Korean War saving others’ lives? Or that he build the communications systems that sent men to the moon? Does it matter that he was disowned by his Jewish family for marrying a Catholic woman? Or does it matter that, when the odds were stacked against him and the chips were down, he soldiered through to protect his children, because their own happiness was the only thing that mattered to him?

I like to think that the measure of a person’s importance is not in whether they influenced a million people or only one; it isn’t in whether a person goes down in history or is forgotten to the annals of time. It’s in the subtle influence they leave on those closest to them, and whether that influence was to their benefit or detriment. And in considering my father-in-law, the influence and legacy he left behind is in the person my wife became, and her siblings, and his grandchildren, and – perhaps one day – theirs.

And so I suggest that he was as great a person as any out there. He didn’t write books that changed the world; he didn’t leave behind a canon of film or music or scientific achievements. He left behind, quite simply, a strong, virtuous woman, who will remember him with love for the remainder of her own life. He changed her world, and I think that’s at least as important as any other.

He used to say that he just wanted to be remembered and thought of. I don’t know how he wanted to be remembered, or by whom, but I remember one thing clearly. A few years ago I had the opportunity to talk to him one-on-one, and I asked him simply what he wanted. What, I said, would make him happy?

His answer was to see his children happy. Nothing more, and nothing less. The same driving motivation to keep his children happy never wavered from the moment they were born until the moment he died.

If that isn’t a worthwhile legacy, I don’t know what is.