No Motiv
Daylight Breaking (2004)
Brian Shultz
A Psychological Anaylsis of No Motiv's Daylight Breaking and How Past Emotions of Releases Led to It
Preface
This study is a mere attempt at analyzing No Motiv's newest album and how his past emotions have progressed positively to this point. The three main parts rely mostly on pure description, but offer anaylsis in the dealing of the subject as (1) his basic past emotions, (2) this line of emotions and why it came to this point, (3) the current state of affairs.
No Motiv - His basic past emotions
Dwelling in cynicism [Cynical] and resultant trauma [Scarred], the subject's early, basic mindset was that of starkly negative overtones that offered minute signs of hope. After this period of misanthropic scarring, depression […And the Sadness Prevailed] immediately followed. An era of reconstruction [Diagram for Healing] eventually followed.
The anaylsis of this line of emotions and why it came to this point
There was a trend in the emotions that were showing normal graduation, in both senses of the word. Placing the cynical outlook on life led to the trauma, and sadness followed. It was a normal pattern, so sadness following should have been expected. The reconstruction was the first sign of positivity, and represents on a smaller, metaphorical scale the real-life trend. It was perfectly normal for the reconstruction of emotions to follow.
The current state of affairs
In regards to the title, Daylight Breaking offers recurring hope. The subject attempts conveying a more positive outlook, yet puts melodies across in songs that clash in moods. These said moods divide into two main stables; (1) upbeat, capturing happy motivation (see: "Robot Eyes," "Life Goes On"), and (2) seamlessly captivating harshness (see: "Death in #'s," "Audition"). All emotions are framed by fluid, restrained rock tempos (see: "Independence Day," "Brand New Day") that the subject had shown previous to current work. Tendencies of speaking in extrovert manners, or less personal foundations, are no longer mainstay; the subject wishes to acknowledge more widespread mannerisms. The subject appears to work magic at times (see: layered harmonies in "Grey Notes Fall," swiftly mercurial dynamics in "Death in #'s," surprise keyboard in "Life Goes On," hushed vocals mixed with haunting whispers over a solemn bass line and swirling guitars in "Audition"). Maturity is shown stronger than ever, by way of lyrics, musicianship, and variation shown. Overall progress subject has shown may prove to be best effort yet.