It is not easy to break a story into two parts, but it was necessary in the case of Mephorash.
Their lyrics’ meaning, is in some way like a dive into the history and myths of our world.
Narration by Mashkelah M’ralaa
Sfaíra Ti̱s Fo̱tiás
Oh father! Titan Eagle upon the enigmatic skyline
Oh glory! For such prayer ´twas said unto me
The father… As many people might feel when reading this line, it has some divine aspect that relates to the father-god in the Abrahamic sky, and it is a two-edged sword of sorts.
This is a reference to divine reverence but also a personal hint to the first real shift within the rebirth of Mephorash.
The introduction of our second vocalist Nebiros.
Nebiros (former vocalist of Malign and Ofermod) has served as not only as an early musical inspiration for the members of Mephorash.
But through some time before the creation of this track (which Nebiros also joins in on the vocals on) he also aided with feedback and later, cooperation.
So just as formerly mentioned in “The Hendecasyllabics of Death”, through the quote “Papë Satan”, the enigmatic nature of our future is slowly starting to disperse its fog and showcase a new beginning of music for us all.
In a sense, we have started to see the first glory and fragment of enlightenment upon our journey into what we were to finally become.
Our prayers had been answered.
2.Thou! – Child! Thy name be holy, deliver us from the abyss
This phrase is meant to be a reference unto the child of the aforementioned father, the inner child, the Christ.
Now don’t mistake this for the long-haired martyr and son of God Jesus Christ from Christian mythology, as he is only a representation of the concept at hand.
The “Christ consciousness”.
The crystalline amalgamation of the conscious mind as it refines itself through self-reflection and thus achieves full enlightenment.
The two partaking as main protagonists within this mythology of christening of the spiritual mind being the two main members of Mephorash, Mashkelah, and Mishbar.
So, this far we have in this manner approached two of the metaphorical archetypes of the “father, son and the holy spirit” trinity.
3.I ascend! I ascend! The stairs of three steps, diverse in color alike.
In bringing up our ascension through a variety of aspects, we once again return to the core mythos that this EP is based upon, “The Divine Comedy”.
This is meant to be a point of view from whether we look upon our reality for what it is.
A descent into hell (Inferno), a realization of what we are capable of.
Setting out on a new and abrasive journey towards perfection (Purgatory).
And finally the goal of achieving something unique and in our own eyes to be… perfect (Paradise).
Also, the name Sfaira tis Fotias stems from the Greek translation of “Sphere of fire” which is the title of the first chapter in Dante’s ”Paradise”.
So from this, we can easily deduct how this fits in, in relation to the overlying theme of the song.
Also, the reason for the use of Greek here is a slight nudge towards the Greek mythos from which I drew the second part of the inspiration.
The myth of Orpheus and his descent into Hades to bring back his beloved from the underworld.
However, he is only rewarded with her full return if he climbs up again without a single glance backward to check that she follows him.
Basically a lesson on the philosophy of “don’t ever look back”.
Something we in Mephorash have always held close to heart.
4.Arise! Arise! She spoke to me…with a glance in her eye unlike all.
This line refers to the part within Dante’s Purgatory.
There he and his aforementioned guide Virgil meet up with the gatekeeper angel upon his throne of a diamond.
Asking them to approach and he asks what Dante’s wish might be. In this part of the text, he also speaks about an unspecified “Lady of Heaven” to guide them upon their journey to come.
And by this lady speaking through him like a form of channeled communication, the angel inspires them to arise through the 7 steps of purgatory to finally reach the so sought-after paradise.
5.Salvation! Before me…hell below and hell above
“Hell below and Hell above”. This sentence might sound vaguely familiar.
It is my own rewriting of the famous alchemical Mantra.
“As above so below” explaining the law of equal exchange. Thus, through writing it this way, I’m deconstructing the general idea behind the ancient expression to clear a path for a new way of unanswered manners of exchange.
A new way of seeing the spiritual exchange of energy and a new way of portraying the magical principle of unity apart from the previous balance of opposites.
No more yin and yang, no more black and white, no more good and evil…
Only crystalline unification of concentrated theoretical chaos in a stagnant state.
Frozen chaos if you will.
6.“Glory be to the father”, with the sun so dark in the sky
Followed by the whitest of roses, whose light, immaculate as the stars
Listen to the shivering voices of angelic lies, singing the songs of sin.
For I have seen
For I have felt
For I have witnessed the end
This is the enigma, The greatest falsehood of man
This part is, like the one above, refers to the enigmatic nature of divinity and the supposed angelic nature of what is thought to be “good”.
Thus, never listen to the angelic lies nor the demonic supposed forbidden “truth”.
7.The black blood on the altar, unified with the rustle of wings above, creating a synopsis of the falling grace and the mockery of god
This part does not only bring back the concept of light and dark unification.
But also uses this notion to disassemble the preconcerted concept of a higher divinity or “God”.
Which in turn makes a mockery of his supposed power and the opposite synoptic addressing of the stripping of Lucifer’s.
Through his fall from grace and banishment from Heaven after committing the highest sin of them all: Pride.
8.I see it now!
For I have witnessed the precursor garden
The primal sin
The everlasting null
The infinite fires of redemption
The three deaths, lined up in my path
So, now, to finally get to the point where the first and second song connects.
This line is not only meant to be a callback to the beginning of “Hendecasyllabics of Death” with its thematical story-driven thread, but also engage the unconscious mind through the art of bringing back the elevenfold harmony.
A poetic structure but with an extra word, thus breaking the harmony and releasing the newly discovered chaos.
Under another mantle than the Hebrew number 11 but under the 12 phrases of frozen chaos.
The Dodecagonic syllables of metamorphosis.
9.So now come see the gate of the void is now forever opened
I´ve been guided through the fires and my everlasting soul is now scourged
For I have leaped
For I have died
For I am all
For I am GOD.
Now through these newly adapted insights, we can transcend beyond the confines of natural frequency of living and enter into the new beyond under the mantle of a crystalline being of a higher than godlike order.
A new god for a new conscious world of your own magical making.
A beaming sphere of divine fire.