“Inscape” by Stateless

The intro sounds almost like the intro of a Linkin Park song. The vocals feel raw and somewhat breathy, yet entirely polished. “Cold” sung in a higher note at the line “How did it get so cold in here?” kicks off the lead-in to the chorus. By the time the first chorus hits the word “shivers” in “I need to crawl inside your shivers,” the track creates what I’ve described before as a hypnotic, entrancing, consuming experience for the listener. It was the point when I cranked my volume from 24 to 100. 

The prominent percussion and rich mixture of instrumentals is everything in this song. Heavy production and synthetic sounds are involved, but it sounds like there’s electric guitar, keyboard, and strings. I love how the number and intensity of those instrumentals are varied perfectly in time with the lyrics, filling out the emotion in the words. The lyrics are poetic and slightly mysterious, but still definitely convey meaning, especially if one is familiar with the definition of inscape: “the unique essence or inner nature of a person, place, thing, or event” ( All in all, this is a brilliant song, and one of my newest song obsessions, even if it’s several years old in terms of its release. Despite whether it’s old or new to you, I hope you enjoy this track.


Past years are figures in old glass
wobbly in a lake
wrinkled by a stone.

The lake will settle down
a face will reappear
in a scent of evergreen.

Years are present as noon as now
or in a rippled moonglade night;
they summon shadow as in fragile memory
easy as stepping into a lake
breaking the present mirror.

It is the way events are stored,
they come back twisted
in wrinkles of water

blurred inscapes into today.

Richard O. Moore, “By the Lake,” Writing the Silences, ed. Brenda Hillman (University of California Press, 2010)

The Windhover

I caught this morning morning’s minion, king-
dom of daylight’s dauphin, dapple-dawn-drawn Falcon, in his riding 
Of the rolling level underneath him steady air, and striding 
High there, how he rung upon the rein of a wimpling wing 
In his ecstasy! then off, off forth on swing, 
As a skate’s heel sweeps smooth on a bow-bend: the hurl and gliding 
Rebuffed the big wind. My heart in hiding 
Stirred for a bird,—the achieve of, the mastery of the thing! 

Brute beauty and valour and act, oh, air, pride, plume, here 
Buckle! AND the fire that breaks from thee then, a billion 
Times told lovelier, more dangerous, O my chevalier! 

No wonder of it: sheer plod makes plough down sillion 
Shine, and blue-bleak embers, ah my dear, 
Fall, gall themselves, and gash gold-vermillion.

Gerard Manley Hopkins 1918

“Best looking Doom so far” isn’t really glowing praise, in fact it suggests a game that is, at best, a good looking clone of another game. 

…But then again, the first-person shooter was still a relatively new concept in 1996, with Doom popularizing the genre only about three years prior. FPS games were at the time called Doom clones, or were often described as “Doom with an X” where X is whatever twist they tried to put on the title.

Nah, that game was just bad.