behind the lyrics

I was inspired to write this song after reading about Kate Bush's song Wuthering Heights, based on Emily Bronte's novel of the same name. I wanted to challenge myself by using a literary source as a form of inspiration like she did. And since Halloween was coming up, Ali and I thought we could write, produce and master it in time for a release that night.

I have always been drawn to Oscar Wilde's characterisation of Dorian Gray, as he encapsulates that side of humanity that we so often suppress: the urge to embrace negative desire. To break convention. This was our mantra from the beginning when it came to the production of this song. We made everything darker to appeal to the original Gothic nature of the story. Initially the song was pretty simple, and frankly, uninteresting. Ali moved things around; the second verse became the bridge, the second line from the original chorus became the post-chorus, things like that. Thanks to him, the song was finally more coherent. Various artists of horror music helped influence our synths, like John Carpenter (Halloween, The Thing), Dixon and Stein (Stranger Things) and Michael Jackson (Thriller), which helps give the song that sense of suspense.

The lyrics are from the perspective of the painting, as opposed to the main character. In the original story, Dorian has his portrait done, and sells his soul so that he can remain as youthful as the painting, allowing him to commit various misdeeds without the adverse affects of his sins showing, instead reflecting on his portrait. This song re-examines the relationship as if the painting is alive, indicating that the painting is willing to accept all blame that may come Dorian's way and sacrifice itself if need be (I can be the Villain).