The EP is strictly limited to 302 hand-numbered copies. The covers have been silk-screen printed by hand. Every piece is unique. Both versions come with a unique download coupon for the unreleased track. Nov 09, 2010  The Grand Inquisitor I: Karamazov Baseness Lyrics: Even if I did not believe in life / If I lost my faith in the order of things / Were convinced, in fact, that everything is a disorderly.

We Are The UniverseConcept albums are a staple of heavy metal. King Diamond, for example, has devoted his entire career to them. However, in a refreshing change of pace, German post-metal collective The Ocean has given us a glimpse of that rarest of birds: the DOUBLE concept album. The band’s latest efforts, Heliocentric and Anthropocentric, focus on the tried and true themes of questioning the tenets of Christianity, and the significance of man’s existence on Earth and his position in the universe.The first release, Heliocentric, explores the initially heretical belief that the Earth was not the center of the universe, instead revolving around the Sun.

Opening with the sounds of the Plague of Locusts “Shamayim,” we segue into the creation of the world “Firmament,” with new vocalist Loic Rossetti lifting his lyrics directly from the book of Genesis. The next track, “The First Commandment of The Luminaries,” makes it clear that The Ocean is not your average post-metal act, utilizing the song’s bridge to introduce the melancholy sounds of a solitary cello, and chiming piano melodies floating over a solid drum-n-bass foundation. The band continues this juxtaposition of brutality and gentleness through songs like “Metaphysics Of The Hangman,” which draws inspiration from the writings of Rimbaud and Nietzsche; “Catharsis Of A Heretic,” which features a haunting brass section; and “Epiphany,” which plays out like an aria from an Andrew Lloyd Webber musical, complete with chamber orchestra. The album closes with a taste of things to come, the songs “The Origin Of Species,” about Darwin’s crowning achievement, and “The Origin Of God,” which posits the atheist’s eternal question: if God created the universe, then who created God? The closing track also ends with a decidedly un-metal jazz saxophone duel, which only serves to further highlight The Ocean’s commitment to defying expectations.The Ocean follows up with Anthropocentric, which continues the criticism of Fundamentalism and Creationism. After bludgeoning listeners with the title track, the band brings us the first song in a trilogy, “The Grand Inquisitor,” which borrows from the chapter of the same name in Dostoyevsky’s “Brothers Karamazov.” Jesus himself is apprehended by the Inquisition during the Second Coming, then interrogated and tortured for his perceived crimes against the church, denying man salvation by offering him his freedom.

Dostoyevsky used this imagery to underscore the lunacy of the Catholic Church during this period in history, and The Ocean uses it to the same end for modern times. Overall, Anthropocentric follows the formula established by Heliocentric, a wash of heavy guitars punctuated by gentle arpeggios and crunchy electronic pads.

However, Anthropocentric mostly eschews the use of pianos and strings in favor of guitar orchestras, to great effect. Songs like “She Was The Universe,” “The Grand Inquisitor II”, and “Heaven TV” tear forth from the mouth of Hell and refuse to back down, pummeling the listener with blood-curdling vocals, grinding bass, highly technical drums, and a Black Forest’s worth of guitars. Vocalist Rossetti does bring the album to a gorgeous and thought-provoking ending with a choir singing, “There’s no one here that knows it all,” and while The Ocean does offer respite in songs like “For He That Wavereth” and “Wille Zum Untergang”, the emphasis here is truly on how much metal the band can bring, so they so desire.Since the songs on Heliocentric and Anthropocentric were recorded simultaneously, they all share the same productions values.

On Heliocentric in particular, the loud passages are perfectly balanced with the soft, allowing the listener to experience the ups and downs of the record without worrying about having their eardrums shattered. The vocals are positioned perfectly, always present, but never detracting from the ensemble. The guitars are layered and panned so as to hear all the individual parts as well as the cohesive unit they create, and the judicious string and horn sections are given center stage when they appear. It’s very easy to become lost inside each of these albums, and to forget just how dense the compositions are, creating an almost infinite amount of replay value in the quest to discover everything about the records.These albums offer something for literally everyone, despite being packaged as post-metal. Classical, jazz, trance, drum-n-bass, ambient, musical theater, name your poison. Even if your music of choice is Native American folk fusion, there’s something here for you.

Bands like The Ocean are a treat in this treacherous landscape of sound we call modern music. Don’t miss this.

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Standalone copy of the chapter 'The Grand Inquisitor'CountryLanguageGenre(s),Pages22' The Grand Inquisitor' is a inside 's novel (1879–1880). It is recited by Ivan Karamazov, who questions the possibility of a personal and benevolent God, to his brother Alexei (Alyosha), a novice monk. 'The Grand Inquisitor' is an important part of the novel and one of the best-known passages in because of its ideas about and, and its fundamental.Scholars cite 's play (1787) as a major inspiration for Dostoevsky's Grand Inquisitor, while also noting that 'The sources of the legend are extraordinarily varied and complex.' Contents.Poem The tale is told by Ivan with brief interruptive questions by Alyosha.

In the tale, comes back to in at the time of the. He performs a number of miracles (echoing miracles from the ). The people recognize him and adore him at the, but he is arrested by Inquisition leaders and sentenced to be the next day.

The visits him in his cell to tell him that the Church no longer needs him. The main portion of the text is devoted to the Inquisitor explaining to Jesus why his return would interfere with the mission of the Church.The Inquisitor founds his denunciation of Jesus on the three questions that asked Jesus during the in the desert. These three are the temptation to turn stones into bread, the temptation to cast Himself from the Temple and be saved by the angels, and the temptation to rule over all the kingdoms of the world. The Inquisitor states that Jesus rejected these three temptations in favor of freedom, but the Inquisitor thinks that Jesus has misjudged human nature.

He does not believe that the vast majority of humanity can handle the freedom which Jesus has given them. The Inquisitor thus implies that Jesus, in giving humans freedom to choose, has excluded the majority of humanity from redemption and doomed it to suffer.Despite declaring the Inquisitor to be a nonbeliever, Ivan also has the Inquisitor saying that the follows 'the wise spirit, the dread spirit of death and destruction.' He says: 'We are not with Thee, but with him, and that is our secret!

For centuries have we abandoned Thee to follow him.' For he, through compulsion, provided the tools to end all human suffering and for humanity to unite under the banner of the Church. The multitude then is guided through the Church by the few who are strong enough to take on the burden of freedom. The Inquisitor says that under him, all mankind will live and die happily in ignorance.

Though he leads them only to 'death and destruction', they will be happy along the way. The Inquisitor will be a self-martyr, spending his life to keep choice from humanity. He states that 'anyone who can appease a man's conscience can take his freedom away from him'.The Inquisitor advances this argument by explaining why Christ was wrong to reject each temptation by Satan. Christ should have turned stones into bread, as men will always follow those who will feed their bellies. The Inquisitor recalls how Christ rejected this, saying 'man cannot live on bread alone', and explains to Christ: 'Feed men, and then ask of them virtue! That's what they'll write on the banner they'll raise against Thee and with which they will destroy Thy temple. Where Thy temple stood will rise a new building; the terrible tower of Babel will be built again, and though, like the one of old, it will not be finished'.

Casting himself down from the temple to be caught by angels would cement his godhood in the minds of people, who would follow him forever. Ruling over all the kingdoms of the Earth would ensure their salvation, the Grand Inquisitor claims.The segment ends when Christ, who has been silent throughout, kisses the Inquisitor on his 'bloodless, aged lips' instead of answering him. On this, the Inquisitor releases Christ but tells him never to return. Christ, still silent, leaves into 'the dark alleys of the city'. Not only is the kiss ambiguous, but its effect on the Inquisitor is as well. Ivan concludes: 'The kiss burns in his heart, but the old man adheres to his idea'.Christ's kiss may also mirror an event that occurs earlier in the novel when the elder Zosima bows before Dmitri Karamazov. No one seems to understand why Zosima does this, and Fyodor Karamazov exclaims: 'Was it symbolic of something, or what?'

.Not only does the function as a philosophical and religious work in its own right, but it also furthers the character development of the larger novel. The parable reveals Ivan's contempt for organized religion.

After relating the tale, Ivan asks Alyosha if he 'renounces' Ivan for his views. Alyosha responds by giving Ivan a soft on the lips, to which the delighted Ivan replies: 'That's plagiarism. Thank you, though'. The brothers part soon afterward.Influence on other media. The composer used this tale, along with, in his oratorio Ecclesiastical Action.

He committed suicide five days later after composing the piece. The scene is the basis of the play. Avramenko, R. And Trepanier, L., Dostoevsky's Political Thought, Lexington Books, 2013, p. 110, Note 20.

Tim Ashley (2012-12-02). London: The Guardian. Retrieved 2013-10-07. (narrator) (1995–1996). Chris Carter Talks About Season 3: Talitha Cumi.

Retrieved 2013-10-07. Dolomede (22 December 2002). IMDb.Yalom, I.

The gift of therapy: An open letter to a new generation of therapists and their patients. New York: HarperCollins.External links has original text related to this article.