NASA Trailer to Run Before New Star Trek Movie

Successfully crowdfunded too. Pretty cool. Especially because of the narrator.

Sacred Reich, Crawling (Independent, 1993)

Independent is the "single" from the album of the same name, as much as metal bands had singles in 1993, and had a video, and is a solid piece of well-developed late thrash by Sacred Reich. But please listen to Crawling here, and treat yourself to two of the most highly evolved pieces of chunky riffage ever to come out of a guitar, the bridge/solo and fade-out riffs in particular (starting at 2m36s and 5m9s, respectively.)

Most Likely Chord Progressions

Hook Theory is a site which took someone a lot of work, where you pick chords and it tells you the percent likelihood of the chords which follow; check it out here. (Sort of like Markov chains for music?) The only problem is that it's crowdsourced and the crowd so far has been pretty un-metal, two Metallica pieces and nothing else I could find. If you like the site, help them change that!

Evidence of Panspermia in Sri Lankan Meteorite?

That's the claim made by some scientists from Sri Lanka and Wales on material from a witnessed fall, based on elemental content and electron microscopy of structures inside the rock. The problem with these claims is always a) ruling out contamination (the fragments landed in rice paddies) and b) making a claim of life based on electron micrographs.

My question: why do these claims never rely on gas chromatograph or NMR data (for instance)? No, we wouldn't necessarily know what we're looking for, but you'd very likely see some large complex molecules, a few of them much more common than others, and then we wouldn't have another 1996 Martian meteorite false-start. Until then any discussion of space algae is premature. And I even think there will actually be evidence of life (panspermia or von Neumann probes) on asteroids and comets - I just don't think this is evidence thereof.

First Law Making Drones Illegal for Individuals, Okay For Government

This is also posted at my economics blog, The Late Enlightenment.

A Senator in New Hampshire - a Republican (more on this below) has proposed a law that would make all aerial photography but government aerial photography illegal.

Francis Fukuyama warned that governments would soon become threatened by this technology, and outlaw it except for their own use in enforcement.

Regarding the New Hampshire Senator's party afiliation: I would like a party that safeguards individual rights, but the GOP is clearly not it at the moment.

As I Lay Dying, Morning Waits (8-bit version; orig. from Shadows Are Security, 2005)

I was going to post the original, which (like almost all As I Lay Dying) I dig in the extreme - and you know why? Because As I Lay Dying doesn't f**k around, that's why. But Youtube is thoroughly cleansed of their work, so I have to bring you the Legend of Zelda version. That said, this is accidentally kind of cool in itself.

The 70s Science Fiction Landscape of California

This is cross-posted to my California travel and outdoors/trail running blog, MDK10 Outside.



The Theme Building at LAX, from theinterrobang.com

The same guy (William Pereira) designed all of these buildings. [Edit - added later: incorrect! The LAX control tower was designed by the under-rated Gin Wong, who was a partner at Pereira and ultimately the CEO of the firm.] In order roughly from south to north:

San Diego: San Diego Airport, Grossmont Hospital, Scripps Clinic, and Geisel Library at UCSD

Irvine: the entire city more or less, including UC Irvine

Newport Beach: the entire city more or less

LA: USC's campus (he was a professor there), and that weird central building at LAX

San Francisco: SFO, and the TransAmerica Pyramid


Geisel Library at UCSD. The first time I saw this I literally stumbled across it, and I started looking around for Gort and Clatu.

Pereira was a major science fiction fan and intentionally designed things to look futuristic. Talk about life imitating art. (And some of these buildings ended up being used later in science fiction movies - that's the UC Irvine campus at that last link.) That said, a lot of these buildings do look pretty dated; to paraphrase the Simpsons, they look like what they thought the twenty-first century would look like in 1970.* But it's amazing that one person is responsible for so much of the iconic construction of this state, and more amazing that he's not more famous. One of Pereira's students also went on to some fame - Frank Gehry.

The whole state of California is named after a fictitious country in a sixteenth century science fiction novel, so maybe this kind of reification isn't so surprising.


*Ah, you read the footnote for more architecture-bashing! Excellent. Modern architecture in general often gets dated quickly because the ways it tries to be original become inextricably linked to a very narrow era - you don't look at a medieval cathedral and think "Oh my gosh, that's so tacky, it just screams fourteenth century." Another mid-to-late twentieth century American architect was Eero Saarinen, and his best-known works are probably the Arch in St. Louis, the international terminal at JFK, and the terminals at Dulles (you know, the ones that require a custom-made land-crawler as a shuttle. Stupid.) Note that of these, only the Arch has avoided looking dated, at least from outside, probably owing to its basic geometricality. Even Saint Wright suffers from this to some degree. Probably the worst offense in all architecture is here in San Diego, the Salk Institute, perpetrated by Louis Khan. Horrifyingly, every day one can find packs of drooling architecture students visting from Europe and Asia, memorizing this Golgotha of right angles, excited to return home and desecrate their own cities with a similar pile of cinder blocks. Just as with Wright's work and that of other famous architects, the bathrooms in the Salk are awful. (RE Wright, in Falling Water they're bad but in the Beth Shalom synagogue in Philadelphia they're criminal. Tiny, dungeon-like, insufficient for the facility, their function damaged by their size and remoteness - seemingly not an afterthought, but the victims of deliberate malice. The bathroom is the most important room in the building!)

Relativity Engine? Probably Not, But Here It Is Anyway

It's probably science fiction in the service of securing funding (also known as bullshit) rather than science.  Still, here's a story on a Chinese team's claim to have built a microwave relativity engine.

When They Thought They'd Found Aliens, What Did They Actually Do?

When pulsars were discovered, the team of astronomers took very seriously the possibility that they had detected an alien civilization. And when they thought about what should be done in terms of a response, they also took seriously the idea of restraint, that information about our existence could not be recalled once it had been sent, if it turned out the other intelligences were not benevolent. Other concerns of the team involved how best to disseminate the information.

SETI has now established a protocol to disseminate news of such a discovery, which basically breaks down into 1) confirm, and reconfirm, and reconfirm again before you say anything; 2) go through channels; and 3) no one should talk back to them until a public international discussion is held. This may all be a moot point since people have been sending signals in various directions for some time, and a criticism of Frank Drake for doing just this is mentioned in the paper I linked to (references removed for readability):

Such a signal was in fact sent out by Frank Drake in 1974 and Ryle wrote to Drake complaining that it was "very hazardous to reveal our existence and location to the Galaxy; for all we know, any creatures out there might be malevolent - or hungry". Later, it seems that Ryle led an approach by several people to Sir Bernard Lovell of Jodrell Bank fame who then sent a private letter to the International Astronomical Union raising the possibility of malevolent aliens, saying that "I have been asked to seek a discussion in the Executive Committee ... astronomers are involved in the problem of communication with extraterrestrial communities. Transmissions for this purpose are being made .... [ as to whether] the IAU should draw the attention of world governments to a problem which could conceivably be of critical importance" and "whether the astronomical community should take steps to initiate a wider discussion on an international basis of the consequences of success ... I repeat I raise this issue on behalf of a number of distinguished individuals". After consulting Drake, the IAU concluded that no action was needed.

The Law-Giving Machines

This post also appears at The Late Enlightenment. This article includes story spoilers.

There are now actual drones in our skies, both watchers and hunter-killers. But they're (so far) only semi-autonomous, and they're on missions to protect us legally and militarily, rather than sent by fellow machines to exterminate. Thought experiments in fiction about automatic law-giving devices have been much more interesting than apocalypse porn about bad AI.

Two short stories come to mind here, one of which has enjoyed recent attention, Robert Sheckley's Watchbird (1990) and Larry Niven's Cloak of Anarchy (1972). Both these stories involve surveillance drones with some degree of autonomy and that can hurt or kill their targets. In Watchbird, the drones are police devices, intended to kill murderers before they commit their crime; the drones are able to learn on the job and once released, they expand their definition and start protecting all living things and even some machines. In the end, another drone is released to kill the first drone species, but of course it soon expands its own definition of what it should kill. (Watchbird was adapted for film here.)

The drone in Cloak of Anarchy is the copseye. In this future world, there are "free parks" where anything is allowed except violence against another human being. The floating copseyes watch over the park,a nd if violence is imminent, the copseye stuns both the aggressor and aggressee, and both wake up later, calmed down and with a hangover. Then someone finds a way to short circuit the copseyes, and within hours factions have formed inside the park and violence breaks out.

The stories present us with two different sets of concerns, based on the problems that occur. In Watchbird, the central concern is the autonomy of the devices. Their ability to learn is what allows the problem to grow, but the protagonist is preoccupied with the very fact of machines executing laws without intervening humans. On one hand this could almost seem like a reactionary position: one of the greatest inventions of modernity was nations of laws and not of men. Intervening humans with narrow self-interest executing these laws have always been the problem! (Hence this proposal for a legal programming language in which to write laws that then have to compile with previous laws.) But even without that quibble, his point is well-taken that when autonomous law-givers are able to immediately carry out their sentence and we can no longer modify them, they might become paperclip maximizers, in Less Wrong parlance: that is, a moral rule which seems universalizable has consequences that humans could not foresee when implementing it in all-powerful enforcers which can no longer be called back. The protagonist has no problem with more efficient enforcement, but the moral mutations allowed by the machines' autonomy.

To this end, naively, little mention is made of the interests of those authorizing and supporting the program. Still, Watchbird does peripherally make the point that technology allows concentrations of power in the hands of individuals in a way that distorts society. With sudden increments in enforcement power, some humans are able to apply laws with an all-pervasiveness and immediacy that had just never been possible before. Even someone with good intentions and what you would have called good values would suddenly find him or herself in a position of dictatorial authority. It's not even that power corrupts (although it does); it's that this centralization is so unnatural as to be impossible to handle with a good outcome. The best example is this exchange with the protagonist early in the bad behavior of the Watchbirds:

"One of the watchbirds went to work on a slaughterhouse man. Knocked him out."

Gelsen thought about it for a moment. Yes, the watchbirds would do that. With their new learning circuits, they had probably defined the killing of animals as murder.

"Tell the packers to mechanize their slaughtering," Gelsen said. "I never liked that business myself."

"All right," Macintyre said. He pursed his lips, then shrugged his shoulders and left.

One man is suddenly in the uncomfortable position of morally disapproving of whole industries and forcing them to change. What's more, this previously reluctant man does not seem so reluctant now.

It bears mentioning that the conclusion of the story, where the Watchbird-killers are now expanding their prey definition, is recapitulating one of the problems of a Singularity solution of building anti-AI AIs: there could conceivably be a parallel to an auto-immune reaction disease if humans fell into the definition of AIs.

At first glance the problem in Cloak of Anarchy is a curious one - that humans immediately revert to violent tribalism when the violence control mechanism is defunct - since Niven is elsewhere clearly sympathetic to libertarian concerns. The obvious interpretation of the story is the paternalistic one, that humans need authority to make them behave. But there's another interpretation, which is that the drones created the problem. That is to say, when we are coddled by perfect enforcement from drones, we lose the ability to exercise moral choices, as well as the ability to appreciate the consequences of poor choices. When it is physically impossible to harm another person, why learn restraint? Why worry about what happens when you pick a fight? When suddenly the daddies aren't around to break up the fights and bail everyone out, we shouldn't be surprised at what happens.

The watchbirds do exist today, although with less autonomy and more firepower. The changes are incremental; there won't be a red carpet unveiling of AI even as profound as the release of the watchbirds (or copseyes). They'll be to areas where there's the most pressure for advance, and the least opportunity for public awareness and understanding. It will be, and is, the addition of subroutines allowing a drone to apply the laws of war to a kill it's about to make (instead of getting slow permission from a JAG in an office in St. Louis who might be in the bathroom). It's the growth of autonomous stock trading algorithms. It will even be in advertising on porn sites.

Here's the U.S. On the Moon

By Boredboarder8 on Reddit's Map Porn. I find images of Earth structures projected onto smaller bodies much more interesting than comparing them to Jupiter or the Sun. But here I think the Great Lakes wouldn't last so long.



Also at the Late Enlightenment.

Best Video of Russian Meteor

My favorite video of the Russian meteor is this one. Then again, at fireworks displays I'm one of those weirdos who turns around to watch the shadows. (Don't laugh, once I caught a pickpocket that way.) Just think of the energy released in the light and the sonic boom. Skip to 40s if you don't want to watch Siberian traffic.

Glenn Danzig as Comedy Trope

Sadly, only in the past few months have I watched Kids in the Hall; somehow in the early 90s when everyone else was watching it I missed it. As a comedy troupe I consider them second only to Monty Python. But I do remember seeing Brain Candy when it came out in '96 and at the time I noted that if Bruce McCulloch's character Grivo wasn't an obvious (and spot-on and hilarious) imitation of Glenn Danzig, then I don't even know what to tell you.






And it has nothing to do with metal or science fiction but this is one of my favorite Kids in the Hall pieces, but there are a million more.

The Trooper (Igor Presnyakov rec. 2012; orig. Iron Maiden 1983)

Inquisition Symphony (rec. Apocalyptica 1998; orig. Sepultura, 1987)

Asteroid Pass This Friday - 2012 DA14

This Friday 15 February, 2012 DA14 will pass closer to the Earth than geosynchronous satellites. Per the NASA Impact Risk site, it's a zero on the Torino Scale (a combined index of probability that it will hit and damage if it does). Zero means there's no reason in wildest hell to think that it would hit us, or even if it did, it wouldn't reach the surface. It's a -5 on the Palermo Scale which is to say, 100,000 times less likely than a random background event.

If despite the careful work of modern astronomers, there's someone in your social circle who insists that this is the end the Mayans (or Christians, etc.) were talking about, ask them to give them all your worldly possession, and zany hijinx will ensue either way!

The Awesomest Shirt Ever

It's mine and you can't have it. Actually if I make it public on Cafe Press you could, but then certain parties might notice and demand it be shutdown and ask for all moneys. And I'm not talking about Darwin.

Asteroid Mining and Detecting Others' von Neumann Probes

With the announcement of "firefly", 3D-printing spacecraft to mine asteroids, we're getting closer to exploring space with multiple smaller craft, as well as more immediately economically rewarding activities, which is what will drive space exploration faster.



Of course it's also exciting because I think exploration of low-gravity bodies will give us more information about life elsewhere in the universe than we expect it to. While reasoning about extraterrestrial life invariably means making assumptions we don't even know we're making, based on what we know about the evolution of life on Earth and the number of planets in the rest of the universe, the development of some kind of replicators outside the solar system seems overwhelmingly likely. If we think at least partly self-reproducing probes are possible - and notice above that investors right here on 2013 Earth are trying to convince people they are - then we might be better off trying to get information about extraterrestrial life from artifacts already here in the solar system than from signals.

It is also likely that lower gravity bodies are better for any entity that wants to continue spreading, since gravity wells are energetically expensive to get in and out of. If you can get matter without descending onto a high gravity surface, you should. (Yes, "but what if aliens have antigravity" - but if we're going to bother thinking about it, we have to make guesses with what we know now. Otherwise maybe they'll ride unicorns. More seriously, if they don't care about gravity, why would they waste time with small gravity bodies like Earth? Mine the cores of gas giants. Hide just outside event horizons to evade detection.)

I've given previously in detail my arguments for why these artifacts might already be here, and where we might look. Comets and asteroids was the answer, so of course I'm excited that these mining probes may explore a number of asteroids during my lifetime. If there's something obvious, excellent (and frightening).

If they don't find anything it could mean:

1. There's really nothing there to find. Intelligent life is much rarer than we think. Replicator chemistry is either not as inevitable as it seems, or there's a Great Filter between algae and interstellar expansion, or life is just rare enough that we're isolated.

OR

2. Something is there to find, but we don't notice it at first.

Because we're looking for something alien - something completely outside our experience - it's hard to say what a gas chromatograph of chewed-up alien von Neumann probe chemistry would look like. (This is why I hope full rocks are towed back, so we can have people in Earth orbit doing real chemistry on them.)

So how to distinguish 1 from 2? Keep looking, and follow up any interesting chemistry we find, "interesting" meaning any low-entropy repeating patterns, either temporally or spatially, on low-gravity bodies. I very much doubt we're going to find a metal ship crouching amidst a flying rubble pile. I do think we'll find strange chemistry that's worth looking into, at least insofar as it's relevant to the origin of life on Earth, and at least with comets that's no longer controversial. I haven't yet seen a model which examines what fraction of asteroids we would expect to be colonized by theoretical replicators, so I'm not sure at what rate I should de-weight my expectation of finding alien artifacts on asteroids, as more asteroids are mined without the merest

The Dying Earth Genre As Horror of the Irrational

The dying Earth subgenre is one which has recently received increasing attention, but it's hard to define. Not all far future sf is Dying Earth and not all Dying Earth work takes place in the far future, but you know it when you see it; it's kind of like pornography that way. Whether it's even truly a sub-genre is up for debate. It's not clear that most authors who write a story with dying Earth elements think of themselves as doing that, or being influenced even subconsciously by conventions established therein. Of course it was Jack Vance's work that provided the name and possibly it's the collection of tribute stories that came out a few years ago that awoke interest in this kind of writing. Other examples are Wolfe's Book of the New Sun, Farmer's Dark is the Sun, and Delany's Dhalgren, the latter of which is often inexplicably omitted from these lists. The far-future glimpse of the giant crab-things on the beach in Wells's The Time Machine should not be omitted, as well as the exhausted ecology in the last scene of Stephen Baxter's Evolution.


Illustration credit Don Dixon.

Dying Earth settings tend to be dark and cold and maybe (as above) glowing red, due to the failing Sun. Nature's cycles or even physical laws themselves have gone perversely off the rails or ceased completely, like a kind of cosmic menopause. (Whether this extends beyond our provincial corner of the universe, and if so why, is another question.) Interestingly, this derangement of reality is usually not the fault of humans - these aren't ecological morality tales - or at least the exhaustion and littering of the planet is pictured dispassionately, as an aggregate trend that has no moral meaning. (Although not a dying Earth work, Stephenson's Anathem has hints of a long history as resources are scavenged from old ruins, although the tone in describing this activity is again very matter-of-fact.) This creates a setting of an incomprehensibly huge and uncaring universe, a clockwork winding down despite any designs harbored by the characters or their ancestors, and indeed some of the profound questions of the human condition become meaningless against such an unforgiving vast backdrop: lay down and die now, or continue struggling to pass on genes and values and create happiness? It's all going to disappear in a few years, so how can it matter? In reality, we're all going to die, either now or a bit later, and this is the moral choice we all face already. It's just whether or not we already know what's going to kill us. It's not surprising then that Dying Earth works are good vehicles for exploring questions of meaning.

The collapse of reality mirrors or brings about a collapse in human society, where reason falls apart. Often the human race comes into contact with forces or beings we can't understand, either revealing themselves in the twilight of existence, or appearing as the clock strikes midnight. And there's a criticism of the subgenre: some works have struck me as yet another excuse to write fantasy but call it science fiction; the breakdown in nature and society returns us to an era of taverns and swords and magic. This is why Jack Vance's work is not my favorite. It's an easy trick to write a sword and sorcery novel but subvert the simplistic paradigm that science fiction differs from fantasy in that "it's in the future, so it might actually happen" (China Mieville has some interesting things to say about this attitude). But dying Earth writers are not the only ones who have used a faraway setting to throw out all the rules of history and write familiar settings. Another cheating technique science fiction writers use is the intervening apocalypse, to reset society and technology. The most honest and original solution to this problem for my money is Vinge's Slow Zone, but there are lots of cheats people use to make world-building easier.

The horror these authors convey at the extinction of reason is at the core of dying Earth prose, more important I think than the used-up Earth or the cooling Sun, and it's this that strikes a chord of unease in many readers, children of the Enlightenment as we are. The far future setting is just a way to get to a place where the laws of reality are broken, although if you're bold enough as Delany with Dhalgren, you can break them in the modern American Midwest. In fact I think we can throw out some of the traditional entrants in the subgenre and simultaneously reconsider some of strange fiction's early heroes as exploring this at least as thoroughly. Indeed, although the Earth is literally dying at the end of the Time Machine, we can make a pretty good guess at how the giant crab things got there (some iteration of evolution) and why they're struggling to survive (the Sun is burning out due to well-understood but inevitable physics).


Non-Euclidean geometry, by I2ebis.

In contrast, Lovecraft might not have been writing about the far future or the death of Earth as such, but he conveyed something far more unsettling that is at the core of the more disturbing dying Earth works, and it's this: we comfort ourselves by describing rationally the small slice of experience that our limited brains can deliver. Even if reason is not an illusion, then there are "black swans" which we cannot hope to have encountered in our brief existence, but which are no less important for our naivete. Asimov's Nightfall hints at this in the gibbering insanity that heretofore unknown darkness brings. In the real world, there are gamma ray bursts, comet swarms, clouds of debris around the galaxy that we rotate into periodically, supervolcano eruptions, and magnetic solar storms. And these at least are all things that we know exist! To the modern naturalist worldview, confident that we have either already understood everything important, or ultimately will, because we can, this is terrifying. As an aside, I don't personally know any unreconstructed theist who is a fan of strange fiction, and I predict it wouldn't seem that strange; they already think the world is fundamentally incomprehensible.

Of all the early strange fiction writers, Hodgson is the one who did this best. Where Lovecraft often gives us the details of the pantheons he has created, Hodgson leaves us in the same fog that his characters suffer. The House on the Borderlands is better known, but The Night Land is a better example (and here's a great resource on that work). He leaves the a-rational horrors lurking in the shadows, their forms not fully understood, exactly as experienced by his characters. King's The Mist seems like a modern cinematic version of the Night Lands, except set in a familiar place.

From the Night Land website, by Stephen Fabian.

A specific manifestation of the horror of the irrational, and one which more extreme horror has begun using in recent decades, is the divorce of experience from matter; that is, the existence of consciousness separate from damage to a body or control of the experience, more plainly, the possibility of hell. Lovecraft warns of something like this happening when Cthulhu awakens. Recently Iain Banks wrote Surface Detail, exploring the morality of simulated hells, but it wouldn't be correct to consider this horror of the irrational because there are still "rules"; the hells are a simulation, and the universe of the Culture Banks has created is eminently rational and I would argue is actually an extension of Enlightenment ideals.

A final common thread about far-future works in general, particularly from the classic period, is that they often explain how they got into our hands, as in Stapledon's The Last and First Men, where the author claims to be a mere telepathic mouthpiece for a far future historian. This is interesting because it's not obvious why these works would feel called upon to defend their authenticity, as compared to other works of science fiction.


It should be pointed out that among Lovecraft's concerns was the creeping perverse derangement of high European, especially English, reason by the infiltration of what he may have called the sinister, dark and Oriental races; more on this here. Surely modern California would have presented a nightmare vision to his sensibilities, one which doesn't seem to bother most people today.

Markov Metal!

More on Markov chains here. These lyrics were (more or less) written by a computer; I was only the editor. If you're dubious that this counts as computer-lyric: could someone really write these in 15 minutes?

I generated them using the following as input: Metallica albums Kill 'Em All through the Black Album; Megadeth Peace Sells through Cryptic Writings; and Slayer Reign in Blood through Seasons in the Abyss. I then curated the best sentences and arranged it so it vaguely rhymed. I used this Markov site (and a synonym site for the title).  You'll see a familiar phrase every so often and if you really squint, you can kind of force a narrative coherence on some of the verses.  But be honest, is it really that much less coherent or borderline plagiarist than most metal lyrics?

A better metal-song generator would include song structure as well.  I'd like to do this for riff generation too but I've already wasted enough of my (and your) time.  Enjoy!


 SPIRIT VOID ONSLAUGHT

I hunger penniless
What might be unsteady
The flag of fire bursting with bated breath
The priest that they'll set free

When twilight blanket's welcome
But still has disappeared
But who's to cry out to each other again
Just leave you see it's crystal clear

Make a familiar face tomorrow, blackened
Dismembered destiny
A New World Order comes back
In bomb shelters filled with loneliness

I don't tread on your soul
Dethrone the word as bad omens in
Lie to myself, the murder's complete
There's nothing else I wonder as the past begins again

Come walk with fire with needles
This is an insane game
But I'll get caught up dead
My mother put him in like rain

Won't hesitate to take some crazy shit has passed
And the Reasons that cleanse you
Where I've seen it rise
Step outside in silent agony within you

Blistering of your mind
There's no more than my time has been stricken by bloodshed
Move can't  you want desire
Life overturned, spanning the God.

Now no mercy for you
Part of life is no remorse
The wall down now
No IOU's, forgotten children

Shortest Straw has found me
Iron fist coming Down in Vanity
Exploiting their Appetite they fury
We want the war to support the heavens to be

If you committed me
I can't feel velocity
Taken my name and reality
What evil I set free

Anonymous existence rendered useless
At the tone of war dreams
A child to recall, the night fall
Souls of machinegun fire screaming

When death staring down
Soon You will be done
Another fight to save the word
We go on the undead altar and beg salvation

Chill your life, I deal in hell
To cut off through the swords
Kept restrained, disapprobation, but you try again
No end until I miss the creations of sacrifice curse

Bones of placid faces
The basis of clay now to be
I burn deep down thinking its done
Feeling the Part of blood

Stretching out on numbered days,
Fragments of pain
To slay all this kingdom of the sound of arms
I can't say back somehow your master plan of war
 
Hear my head against the stake you'd crush me
I'll Take No recess and smashing your steeds
Kills the sheep, you feed me
Trust me luck deserted me

No deed or dying soul could it come to me
Welcome to kill, not see more seriously
Memories can't believe
Experience pleasures of misery

Voices oppress like the number that is the need
The destroyer born faceless without eyes and sweat
We lied to live again

Killing, you raise the school of life
Just empty gun fire
A plan of Living drives you through your life
While you're fighting to lie

As soon you'll do lying dying time
Foreclosure of the hatred comes Burning inside
like a couple grains of demise
Seeking life

Will I know it to be written
Now you're next to kill a kiss
Shouting to begin whipping
On judgment day looking back to live

I realize you see how to live
For you hear evermore you've lost my soul
Fire so grim, I say you will kill
I can subdue but me through the shadows

Eternally rot amidst the gods
As I see won't take my soul without
I am stalking the things are a god
Don't pay dying one, command you for now

Oh so far beyond the needle
Diffused compulsions
I don't care
Bombard 'till submission

No repent, we are no end of sleeping in blood
So be looking back to mankind strapped in
Peace find in blood possessed with hell
Upending the way across the end

The kingdom of puppets
Another child draws near Inferno's coming
Dying to each other lover
The rising immortal in the hour from the dark.
I'm stoned