.::adHominem Song Analysis::.

Ever wonder what we thought while writing Time Kinetics? Want to know which track is our favorite? Curious about the meaning behind our songs? Well if you answered "no" to any or all of these questions, you are free to leave now. Otherwise, you must have read them wrong since nobody gives a shit what we think of our own material. Nevertheless, it was a cool idea to form these song summaries, so whithout further ado, ladies and gentlemen, please welcome...

This was the song best suited as the first track on Time Kinetics, since it's a good example of what adHominem is all about. With an eerie effect used at the starting, the anticipation of what's to come only lasts just short of 30 seconds. Being the second song ever to be made by adHominem back in 2001, you'll notice our first attempt at a blast beat riff at 1:16, an off beat pre-calculated rhythm at 1:39 as well as a breakdown at 2:35. The song as a whole reflects the adHominem style summed up into one poweful straight to the point track.

During the first half minute of this song, you can't help it but think "did adHominem turn radio?". But as the screaming unveils at the 0:43 second mark, your bowels unclench as you are relieved and begin to head bang. This is the one track on the album that represents the widest array of styles à la Hominem. The signer shows what he is capable of by harmonizing himself at the start, when shortly there after, the feel gets more aggressive as the guitar distortion slowly increases, and the song takes another direction. But wait, I can hear a tool influenced riff followed by some 'take it away' harmonies. Ah yes, this is soothing to the ear drums. The song is turned completely around at 1:40, with a crunchy Gibson Les Paul and Marshall JCM 900 genuine sound (thanks Dave B). With a catchy intro, an attempt at a jazzy sort of jive, and a double bass one-two-one-two-one part (2:24 secs), diversity was achieved in the field of Travelling Spaniards (?). This song is the only song on TK that has a guitar solo, which happens to be performed by Inbound's very own talented artist, Jason P, the man behind the engineering of Time Kinetics.

Pronounced "ex-ill-it", this French song is by far the most talented song on the album. Maybe we think that because we wrote it, but whatever. It keeps getting your attention with one calculated math rock riff after another. The song is just simply raw. The offbeat rhythm at the start took at least 5 months to learn as a group (by lack of jamming more than once every 5 months). After that, it became un-thinkable and very natural to play. The song possesses qualities of fear factory (3:01) as well as a tempo change at 1:15 which enforces interesting vocal licks.

This instrumental track was placed as track 4 to break up the anger a little from the previous songs. With flutes in the very beginning, you wouldn't think that this song even belongs amongst the rest, but as adHominem always says when thinking up of a new and interesting idea: "Why Not?". Oh and yes, the flutes are electronically programmed. We encourage that you play this one for your kids.

Abrupt and straight to the point. This is another one of adHominem's favourite tracks on Time Kinetics. You must listen to the previous track right before this one in order to get a feel for this song, since both tracks 4 & 5 were originally written as one song. Even though both tracks have very different characteristics, you won't even know that the track number has changed on your CD player if you aren't paying close attention. A nice touch to this song is at 0:23 secs when the vocal tracks are panned which gives the effect of a slightly distorted conversation. Reading through the lyrics while listening to this part is great...

Awesome. The bass line at that riff (original concept is patent pending wheels 2003) complements the consistency of the guitar chord. What started off as a riff that was thought of getting replaced many times, ended up sounding great as a whole. The screaming at 1:06 was in fact done by adHominem's signer as well as the guitarist. If you pay close attention, you can hear one of the voices crap out due to lack of stamina. The last riff of the song has harmonics that are harmonized following a typical breakdown. The lyrics in this song were written by adHominem's drummer, who was in fact inspired shortly after the events of 9 11.

This song was actually recorded on our first demo, efferent outbound, and had the coolest intro which we did with a guitar that had a few broken strings and a delay pedal. We wanted to pull off the same idea for Time Kinetics, but we ended up writing our own electronically programmed intro using a program called Fruity Loops. It turned out great as a build up to this song, but was a little too long so we decided to add it at the end of the previous track, The Template that Is Life. It fits perfectly there. This was also the last track that we recorded vocally, so if you carefully listen to the vocals, you might hear the singer getting a little tired towards the end. A few problems arose with this song, for example at 0:20 secs, the originally recorded panned guitar sounded too distant and not in-your-face enough, so we decided to rerecord it. We did this using a brand new mesa/boogie amp courtesy of Dan from Inbound. Dan is the man in our book. Can you hear the rawness? I love that sound. Another powerful point in this song would have to be at 1:02 when the bass dictates the typical bass drum and snare fill. This was the ideal track to fade out, and notice as well, that it's the only other track on the first Chapter that has a chorus (What's the other one? PAY ATTENTION NEXT TIME!).

Here is a track that was written a long time ago and that wasn't even meant for Time Kinetics. The first day recording the drum tracks in the studio went so well, that we were offered more time so that we could play another song. Well, we decided to add Solomon's Seal to the bill, since it would add a nice flow to the album. We recorded that one in no time at all, since it's so damn easy to play! The coolest riff in this song has to be the first riff, especially when the panned harmonized guitars kick in. adHominem can't help it but ram themselves into the wall when they hear that part. It's just that good. The melodic signing at the very end is one of the coolest vocal lines on this album. It took quite a few takes in the studio to pull those harmonies off... but did it take as long as the harmonies on Spanish City Travels? HELL NO.

This song is the last song adHominem wrote before going into the studio. It's the latest material before this album. Notice how the first riff in this song is repeated at the end. The power chords shortly thereafter are finally obliging our tom feared drummer to get over his phobia. And what a good jorb he does. At 0:39 & 0:56 secs, both the guitarist and the singer kick into overdrive. Then at 1:06, the heaviest scream you will ever hear in your life emphasizes the power of the band. Clean tone chords flow into calculated rhythms as the 2nd heaviest scream in this song is accentuated by delay. More weird timed kinetics follow, as the next minute gives structure to this track. 2:35 forces the band to break dishes while the breathing space on the next riff awaits the beautiful chinese crash at 3:08. The most messed up riff on TK is indeed at 3:17.

1. An arbitrary (?) decimal number was chosen.
2. That number was converted to the binary string 01000101.
3. A one's complement was then applied to give 10111010.
4. The order of those digits was reversed by means of a stack.
5. And finally, the last string was once again, derived from taking the one's complement of the previous string of binary numbers.

CRAZY! I wish humans could play that (even though bands such as Martyr, Spiral Architect or Spastic Ink probably can). There is nothing else to say here, other than this was a perfect way to end the aggression left off from Chapter one. Technical is the word. Difficulty is the other one...

This song was written, produced and recorded by Dan Lalande, drummer for Inbound. We were so impressed with this piece of shit, that we were the ones to ask if we could add it to our album. The author went through so many versions before contributing it to adHominem's Time Kinetics that you would have a hard time believing that the first version is actually the same song. It's the longest track on the CD but every minute builds up to the next. At 1:52, you can hear the talented beast's drumming, guitar, bass and even vocal abilities, all while having an ambient, yet distant feel for the electronica track which is always present from the very beginning. This song, in our opinion, is pure genius (according to our standards).

The purest form of catchy electronica music can be summed up into this song. We swear you'll be whistling this song for days. Whether you want to or not, well that's another story. This song was also one that went through many revisions until the final one was decided upon. The slap bass heard at the start adds an 80's vibe to the riff, all while various instruments carry the melody throughout your whistle.

The ambient feel given by this song is a result of one instrument built upon the previous. The song gets fuller by the minute, and the relaxing tempo was chosen to lead the direction of the album into a more relaxing state. At 2:01, you can sense the feel leading into a more industrial sound. This is a great song to chill out to. Oh and at 3:10 alls I got to say is, fart fart.

This song only adds to the variety of the adHominem influences heard on this album. The original version wasn't written with the idea of adding hip hop vocals to it, but T-Bone STaKe, as he likes to be called, offered a helping hand. After many tries in recording his tracks, it was decided to add a little white blood and hence, adHominem's guitarist aka Porked Chop, weakened the mad rhymes by sucking. After the build up of the first half, the second half completely turns the song around (that seems to be a trend) and rap vocals are heard out of the blue.

The idea behind this song was to have electronically programmed vocals behind an ambient and simple synthesized pattern. At 2:20, you can hear a distant, yet comfortable soothing harmony. Exactly one minute later, you'd swear a robot choir took over the stage. If you ever see us play live - which you won't because we just don't do that - you will see a series of these robots dressed in heavenly attire. Different, yet relaxing with drum beats constantly changing into the background. A+. You might also notice that this track is over 15 minutes long on the CD given the fact that we added a 10 minute ambient industrial ending.