Haww! Incest.

By The Light of Candle

So talk about rest and that I should be still
My strength invested in a void I can’t fill
Drowning in sheets, suffocating in time
So you can monitor my dark state of mind

I can feel you near me, so close I am scared
The idea of a cure has me so unprepared
For my view of our love is a cynical mess
My skin screaming with every caress
While I know you care, I am numb throughout
And occasionally I have my doubts

So ask me why I feel enslaved
You’re beautiful, my ball and chain
It is with you, I have fallen sick
The blood is sweet, yet very thick
So tell me to sleep as you dance the night
As I lie alone by candle light

See guys I know it’s a sensitive topic………….I care more about it as I have a friend say “Jack”who has been now in an incestuous relationship with her sister for 2 years now and both of them fear for their lives to an extent that they tried to poison themselves to save the shame.
Not everyone is royal as Jaime and Cersei to fuck in open and not care about it (Remember S7 ). But before you throw stones on them please remember , love is no crime and they like all of us have equal right to express it.
She has reached a point of emotional breakdown and now it’s tough for me to see that.So Guy’s on a serious note please leave them alone.
On a lighter note,………………………………………………….

Diwali Mubarak or Shubh Deepavali?

Typical culture bias and hypocrisy to start with. Scrolling down my news feed 6 A.M in the morning with shootings in U.S(Guys seriously Trump might be a joke but your gun laws shouldn’t be) to Kangana fucking over Hrithik (Seriously this paparazzi shit needs to stop now). I came across this news that Canadian Prime Minister and Leader of the free hearts , the king of charm Justin Trudeau (I am not gay, but come on guys there are some days where his smile is too much for me) wished the world “Diwali Mubarak” and we Indian’s went nuts( went nuts not went for his nuts…..actually we did *Wink).

People trolled him saying “Mubarak” is an arabic word and I was like your mirchi lights are chinese . Suddenly stalwarts of Indian culture appeared and Trudeau was really grilled.

This Indian mentality or why to narrow it…say this human mentality of finding unnecessary faults in statements and instead of being polite and minding their own businness , creating a ruckus is not new. Just look at my ex(Just Kidding, No offence girls 🙂

So, on this auspicious occasion I wish you all “HAPPY,SHUBH DIWALI”. May this festival light up your brains as it lights up your house.

And yeah………….I am in love with Trudeau. (Sorry Ladies)


Peace !!!!Feature



Hawk Roosting

I sit in the top of the wood, my eyes closed.
Inaction, no falsifying dream
Between my hooked head and hooked feet:
Or in sleep rehearse perfect kills and eat.

The convenience of the high trees!
The air’s buoyancy and the sun’s ray
Are of advantage to me;
And the earth’s face upward for my inspection.

My feet are locked upon the rough bark.
It took the whole of Creation
To produce my foot, my each feather:
Now I hold Creation in my foot

Or fly up, and revolve it all slowly –
I kill where I please because it is all mine.
There is no sophistry in my body:
My manners are tearing off heads –

The allotment of death.
For the one path of my flight is direct
Through the bones of the living.
No arguments assert my right:

The sun is behind me.
Nothing has changed since I began.
My eye has permitted no change.
I am going to keep things like this.



Crazy little thing called love!!

Expecting poetry. Dayum!! you would be disappointed today because today it’s gonna be short and sweet and please, there is innuendo there.

So, it’s about girls bitching around too much. I get it ladies…society is tough on you. I get it girls…but we men also have fair share of shit going through our lives and guess what when we shout that would be termed indecency and patriarchy.


So just before you decide to go nuts on your boyfriend just remember….”With an Indian dick comes suicidal responsibilities” and we men don’t have a privilege to complain and whine about it.

God bless India.



Truly One!

Escaping My Fate


Grounded and stuck, deep into the ruinous mines

Created by the memory of my past haunting me in the dark

There was not a way to escape my deadly sins

As the death approached me to drag me to the gates of the hell


I shouted and cried for the help which seemed afar

As, not a soul stood with me as a light in the dark

And as I walked through the haunted paths of my memory

I, glimpsed on every note and it seemed like my obituary


Heaven, declined me and the inferno was ready to feast

On, the sheep that followed the devil eyeing on the riches which he seeks

And, now I realised the truth as it dropped its veil

That not, even the God would save my soul as he should


So, I picked up learning instead of yearning for all the time that was left.

Read, every book and paper I could find on occult and spells

Taught myself rituals, curses and the art to conjure the dead

As now for me the holy book and the almighty was extinct



So, now this petty dabbler rose to be the master of the dark arts

Dreaming, to send the death back to the place where it belonged

But the efforts of mine were in futile and in vain

As the death was too able and me too impotent to alter my doomed fate.





Truth On-Board!

Neither Too Far Nor Too Deep


Along the lines of the straighter, darker trees in the wood

I walked along in the search for a reason

The reason for why I had a heavy heart and numb legs

Through which I could barely hold my trembling steps


Feeling, like I am in the 11th hour of my life

But the calendar disagreed as the clock chimed

Showing me that it’s still the spring in my life

And I find this paradox hard to believe in my sight


“Neither too far, nor too deep” warned the strings of the broken heart

There is no return, from the quicksand of memories of joy

And tears, which I shred all my life

Whether in the happiest moments or in the deepest regrets


So, now the dilemma clouds my mind

Whether to leave the cracks open or mend it

With the tools of my fragile faith and waivered consciousness

Only to see the structure turn into rubbles again.



Confession Time!

Apologies for the Past


As I sat down leaning on the white wall

In, the gallery floored with the wood of oak

I could still hear the footsteps of her dancing, with this nice old bloke

Drenched in the wine of the mystical love or was it the hidden infernal bane.


Staring at the dusk as the yellow turned tangerine

I was struck by the insight of my lost sense of esteem

And, I sipped my whisky a little this time

As I had apologies for the man that I have been in the past


I bear the guilt, holding my life so low

To be tramped over by the thoughts of misery and woe

And let that Scottish lass assay my pristine love

Which knew no limits as it wasn’t destined to know so


I beg for the forgiveness of my manly pride

Which roared like a lion in the jungle of life

But, I reduced it to a mere bleat of the shivering goat for slaughter

Just to keep my love in my sight.


After reading you must have various types of thoughts. Share with me in comments!


Soulful Thought..

Abandoned Consciousness


It’s the darkest hour as the doomsday clock nears 12

The, world is dipped in the dark tar of devil

And torn between the tug of war between heaven and hell

As both pull to drift the humanity towards themselves


Seeing the plight of a women raped and her respect bleed

In the open daylight as the society never seems to exist

And, the world rips apart her pride and honour

Plagued with a mindset of subjugation and false order


Possessing the food for thought as the preach their greatness

But, never they had a thought for food for the abandoned

For, the poor rotting in the dungeons of hunger and death

Choose, a quick snap over the prolonged trauma of the other


The vultures of the evil feed these stinking souls

Which humanity has abandoned ago

And all that remains is the sack of meat

With no thoughts of their sinful deeds.


Bohemian Rhapsody Deconstructed

The soundstage for Bohemian Rhapsody varies from being quite simple and straight forward to terrifyingly complex, but let’s try to deconstruct it anyway.


Bohemian Rhapsody is the iconic hit from Queen’s 1975 album A Night At the Opera (EMI, produced by Roy Thomas Baker). At the very least we’re all familiar with it from the movie Wayne’s World, but I clearly recall skipping school the day the album was released and listening to it on a friend’s brother’s stereo which was a pretty high-quality system (he was out of school and had a job).

A Night At the Opera



In some of the operatic sections we are listening to 8th generation mixes of the vocal overdubs, so if you have the general commercial version of this album and play it on a high-end system, Rhapsody comes off more boxed-in and small than bombastic. My Night at the Opera CD is a bit lacking so to help overcome the flaws in my source I opted to use my M500s to deconstruct this one, but a good 180 gram vinyl LP or digitally re-mastered CD would go a long way to fulfilling the intended experience on my full-blown system (if my wife is reading this, my birthday is this year).


Turn on your lava lamp and settle into your beanbag chair for a quick look at the production of one of rock’s most iconic songs. 



0:00 – 0:14: The song opens with a 5-part harmony recorded solely by Freddie Mercury. His ability to match his own voice in near perfection gives the opening that dreamlike, otherworldly quality. A small bit of reverb can be heard on the tail of each phrase.

0:15: The grand piano enters in the center of the soundstage, with some stereo reverb decaying the piano out to the left and right channels. The piano accompanies Mercury’s 5-part harmony through the next stanza.

0:25: Mercury sings the first verse with his own harmonies answering his lines.

0:35: A slight bit of mixing trickery has the lines “little high” and “little low” pan slightly from the left channel to the right channel.

0:41: During the harmony line “any way the wind blows” you can hear just a tiny amount of flanging on the word “wind” as Roger Taylor introduces the next section with a mallet crescendo on a cymbal. The cymbal is also heavily phased or flanged.

0:48: John Deacon’s single bass notes on the root of Mercury’s cross-hand piano arpeggios sit behind the next verse. At this point all we hear is Mercury’s practically dry voice, the bass and the piano.

1:19: Roger Taylor comes back in again with another controlled cymbal crescendo and a few measures of the same beat he would use a few years later for We Will Rock You. The track is now bass, piano, drums and single vocal.

2:03: We hear the first of guitarist Brian May as he glides either a pick or finger along the strings between the bridge and the tailpiece of his guitar. A little reverb and a nice pan from left to right give the listener the sense of listening to a chime or belltree. It’s a very cool effect.

2:18: May’s guitar comes in in earnest on the descent into the next phrase. The tension is building here and the simple 4 note guitar phrase adds to it.

2:35 – 3:02: The guitar solo acts as a bridge between the ballad and opera sections. May’s phrases ignore the melody lines heard in the ballad section, adding to the sense that something new (and big) is coming. As a sidenote, May used a coin as a pick on a guitar he built himself, and the metallic, yet melodic, sound of his guitar is at once unique and stunning. At this point we are listening to a four piece band (piano, bass, drums and guitar) with no overdubs and few if any spatial effects.

Waynes World

3:02: The operetta. It’s kind of mind-boggling to note that in the days before ProTools and Digital Audio Workstations, editing took place with a razor blade and adhesive tape–sections would be recorded and then spliced to other sections by cutting and taping. One track was dedicated as a click track to keep it all synched together. Members of the band and production team have said over the years that 180 different overdubs were recorded by Mercury, May and Taylor over the course of three weeks during studio sessions that lasted ten to 12 hours. Another point that shouldn’t be missed is that studios were limited to 24 tracks in 1975 (hence all of the razor blades, adhesive tape and long days singing figaro). Brian May was quoted as saying that when the tapes used to record the vocals in this section were held up to a light you could practically see through them as they became worn out from so many trips over the recording heads.


This section begins with a simple quarter-note piano part of Mercury’s plain vocal.

3:08: “Scaramouche, Scaramouche” Here we hear the three distinctive voices of Mercury, May and Taylor for the first time as they answer the melody singing “Scaramouche, Scaramouche,” (which in the days before the Internet very few teenaged rock and roll fans knew was a clown). There are no overdubs here and just a slight but of flange to give the vocals a spacy vibe.

3:12: The arrangement goes full-on operatic here and you can hear the totality of the overdubs with Taylor’s falsetto gliding out of the end of the phrase “very, very frightening me.”

3:16: Gallileo.” Taylor is in the right channel and May is in the left channel answering him.

3:20: “Magnifico.” Here the production team, led by producer Roy Thomas Baker, use their editing block and razor blades to splice together a wonderful example of a bell chord (where different instruments (in this case voices) basically play an arpeggio of a chord, sustaining each note. It happens so fast that it’s impossible to tell who we hear or how many of each singer we hear. The first ‘o’ is panned to the center with each of the subsequent four notes gradually moving from the center to the left and right channels.

The instruments being played during the passage are simply piano, bass, drums and tympani.

3:36: “Bismallah.” Adding interest and spaciousness to the arrangement (as if there weren’t already enough!) Taylor’s single falsetto sustains on the lines “let him go!” past the other voices, giving the listener the sense they are listening to a soloist on stage. At 4:07, during the finale of the opera, Taylor can once again be heard rising above the “choir” to close the scene out.

Sheer Heart Attack



4:07: Maybe the greatest guitar riff of the vinyl era. This riff was actually written by Mercury (as was every other part of the song save the guitar solo). The first time around, the recording is stripped and simple: guitar, bass and drums. After Mercury finishes singing the riff repeats and the main guitar is very subtly tripled. The three parts then separate at the end to answer each other (L-C-R) as the piano returns for the finale ritardando. May’s guitar is doubled again during the “nothing really matters” section, and at the close, all of the effects are removed from May’s guitar, giving the listener a plaintive lead into the final line, “any way the wind blows.”  A tam-tam (Chinese gong) set way back in the mix completes the journey.


Other than a little flanging and reverb to build power during the louder passages, it’s kind of important to note the otherwise lack of effects. Mercury’s lead vocals are basically dry (although there is some reverb on the two-track mix), something we’ve grown to view as unusual in the modern era of auto-tune and massive digital reverbs masking the voices of good singers and weak singers alike.