So, taking an illusory break from the angst of Say Nothing, in comes track #5: Falling Apart at the Seams. It is as solemn and somber as they come. It seems to be little more than a dreary instrumental piece with no focus or resolve. Intermittent female vocals throw the listener off and I can imagine how many people have listened to and taken nothing from it. It is actually more of a pre-cursor to the next track on Logos: Opium Stairway. It is at times light-hearted and simple when the main chorus part comes in, but it quickly fades back into some dreamy sense of giving up. Again the same acoustic guitar and Mexican bass stand side by side, belting out a very soft set of dreams that are later accompanied by sparse piano parts that accent this dreaminess. This mellow dreaminess in my work usually indicates a very dark and oppositional expression. You can almost always assume that my more beautiful and soothing works often indicate a very dark and depraved feeling of either hopelessness or sadness; That is just how it usually goes with me.

It does try to paint what is happy and beautiful in this world (the ideal one), but it does so from an envious mind. It is the problematic wall I face when I try to convey these kinds of projects. While I can envision them well, it is always at the expense of my emotional stability. The song just trails off into a merry little sunset of what most listeners would assume as a happy ending or attainment point. This view is quickly disturbed when the following track starts playing. The juxtaposition of these two songs is not mere coincidence. I intended them to be seamless in both arrangement, atmosphere, and direction. The culminating point is Opium Stairway.