The Chronicles of Manimal and Samara - Deus Ex Machina
Music by Andrea Papi
★ Verse ★
On the path of peril the blind king staggers away
All he can see is darkness like a shroud
Groping through mist and cloud, the devil his only friend
Doomed is he to find release only at his end
Cursed is he who incurs the wrath of envious gods
Woe is he, he who walks alone on the road to ruin
Woe is he, whose fate is abandoned to the wind
Woe is he, the end too dread to tell, too dark to see
★ Chorus ★
Trial is the test of man
Hubris will be be his fall
Fate is the curse of man
In god’s envy, tragedy befalls
Hamartia is the flaw of man
Hubris be his downfall
Trial is the test of man
But death befalls us all
★ Verse ★
Oh cursed Oedipus
Pursued by the hounds of fate
For slaying and laying with kindred
You took out both your eyes
All your sins laid bare
Your shame you alone will wear
So you go away without a guide
A vagrant with no sight
Oh cursed Oedipus
Hallowed be thy pain
A blind man wandering across the land
Never to be seen again
Oh cursed Oedipus
Hallowed be thy shame
Architect of his own tragedy
So vanished he, into a shoreless seaThe
★ Chorus ★
Trial is the test of man
Hubris be be his fall
Fate is the curse of man
In god’s envy, tragedy befalls
Hamartia is the flaw of man
Hubris be his downfall
Trial is the test of man
And death will end it all
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The Chronicles of Manimal and Samara
Biography
Drawing inspiration from many sources stemming from Devin Townsend and Tool through to Kraftwerk and Russian Circles, as well as absorbing the poetry of Virginia Woolf and Jim Morrison, TCOMAS admirably strive to fill a gap in music by bringing literature and history together into an arena where rock and metal meets electronica.
Their musical and lyrical themes are very much rooted in the duo’s interests in classical literature and theatre, as well as in the fields of philosophy, history, and psychology. Their musical innovations are a result of a collaborative process beginning with the composition and arrangement of the music, which Samara then casts into verbal form. By setting a poetic/narrative text within the musical composition in lyric mode which is spoken, recited and narrated instead of sung, this inter-artistic mode of transfer goes beyond placing brief interludes of spoken word over an instrumental composition.