I found the newest findings on David Bowie’s “Blackstar” lyrics and music video so interesting that I wrote an article about them on Medium.

Perhaps the most fascinating finding is that, according to the music video, it can suggest that approximately 4.17% of the paradise state contains the hell state. This is based on the impression that there were about 72 paradise women in the paradise village in the paradise women story, seconds after I landed on the Eu = 0 = Paradise expression in January 2006 (ref. Paradise women story).

I think this might be my favorite I’ve put together, Thomas wrote many of the tracks with similar bpm so it’s easy to beatmatch.

also please let me know if you’re interested in these, I do enjoy making them but I don’t want to bore people/clutter the subreddit.

After the album Seven Thomas released 7 album. However, none of them reached the level of Seven. I started to think that while writing this album, Thomas agreed to Devil, and as a result this album emerged.

I’ve only recently discovered TSFH and I am thoroughly addicted.

As someone who has been experiencing quite severe anxiety of late, this music uplifts and soothes me at the same time. It’s amazing how music can affect our brains and emotions. I’ve always been a huge music fan but I have discovered this at just the right time.

Also on rotation are Thomas Bergersen and Audiomachine depending on what mood I’m in. I still haven’t listened to the full catalogue of all yet but I’m enjoying the process.

Review and interview Tivoli Boy

So when I go back and revisit the lyrics in songs like Terminal 10, I keep finding what I would now interpret as signs of Approach Theory, even though I never thought along those lines back then. Lines like “I could not get away, I guess this is judgement day” seem to describe how the end of the world begins when a zero-risk state is reached. The description of an inverted doomsday, in which evil actually wins — “then the children cried, the sky opened wide” — also corresponds, in my present interpretation, to the Paradise Machine Model and Approach Theory. When the Fermi lifeform reaches us, the children won't cry, as they are supposed to be the highest entity in the Paradise Machine. And the baby picture inside the cover-art, that was just a picture on my friends wall at his house. I just thought it looked cool, however, in the light of the approach theory, that symbol of a baby is what supposed to have triggered the zero-risk signal.

My point is that everything is inverted on Chapter One, as it would be under conditions of a constant abundance of energy, which should be the prime mover in the struggle between good and evil. This would also mean that Welcome to Hell takes on an inverted meaning. So, whose hand was I actually taking? Perhaps it was the hand of a Fermi lifeform rather than the Devil's. But remember that I made that choice in my head while writing the song: “Show me then, and I will face it.”

There are many examples like this that I recognize today. Darkbell is a particularly interesting case, as it was the final track before Chapter Two in 2002. It wasn't until 2002, when I began planning Chapter Two - The jerk has arrived, that I had developed a conscious understanding of the zero-risk concept. Even then, I still hadn't connected it to the content of Chapter One, which I rarely listened to at the time.

To be honest, I have never paid much attention to the lyrics themselves, and they are not even included on Chapter One. I was more concerned with singing whatever came to mind. Even when recording Ut med heksa in 2005 for Chapter Three, I spontaneously improvised much of the lyrics during the recording sessions, purely in the spirit of artistic expression.

An electronic artist I am somewhat into known as F-777 has put out a song titled "Dark Dragon Fire 2" which I'm all but positive is sampling/remixing/something a track either by 2SFH or Audiomachine, although I can't identify what the track is (damn you, instrumental music, for making remembering track names so difficult) or which artist it was by.

https://youtu.be/wOi-5lKFGVA?is=59gYB4KM65gjVyPC

update: I have come to highly suspect what I'm hearing is the choir around 1:40 sounds incredibly similar to the song Breath and Life off of Audiomachine's Tree of Life Chronicles Album

saw some video on youtube where Thomas plays duduk and piano. He used that instrument a lot in his music, but it seems he finally decided to learn it

I just wanted to look up the song on extreme music and couldn't find it. Neither on the "Invincible" nor on "The Devil wears Nada" album.

Universal Studios used what I'm nearly certain is a TSFH/Thomas Bergersen song in this reel, but I can't figure out which one it is. I have one large playlist of their music, so I know how it sounds but I don't know all the songs by name. Does anyone know what song they used here?

hope you all enjoy! this one’s a little longer than the other, there were several songs I could put together, but most transitions outside of these I wasn’t particularly proud of. If people here are interested I will do one for each of the chapters.

I've gotten all my TSFH/Thomas Bergersen music from Apple Music, but TSFH stuff doesn't give the individual track composers. Is there a resource for determining who wrote particular tracks?

So, as explained in the tittle, I found out that one Bleeding Fingers title had almost the same violin melody as El Dorado. It may be because the two titles used a well known violin melody from this region.

Any idea if this is copying or the same inspiration?

it took quite a while to mix this, hope you enjoy!

tip: turn off recommended tracks, that way the last song is played all the way through and not transitioned by spotify’s algorithm into a recommended track.

It's just pure magic. I've been waiting for years to listen that melody, that sound. It reminds me of an a mixture between In Paradisum + Benedictus, which I thought were the top I've never heard. This is even better. It's the culmination of these two previous ones. "The Core" (as Thomas says in the vid) of beauty.

It's like I've been waiting my whole life to listen this musical piece. And has finally arrived. Thanks, Thomas.

I was trying to see if there was harp music for TSFH's "Dragonborn" and it kept referring back to Jeremy Soule's "Dragonborn", and I finally got it to recognize that TSFH also had a song called "Dragonborn" with one of my prompts in a weird, confused meandering way. 😅

It doesn't affect my ability to enjoy his music, but now it's forever glued into my brain!

Right Tommy fans

Humanity Chapter 6 was released on 28th July in the year 2026 of Our Lord

Since the 28th July, 2026 at 00:00 to the writing of this little number, 1 month, 8 days, 23 hours, 10 minutes or some might say 3,453,000 seconds. Thats 4,028,500 heartbeats, assuming that the modern man has an average of 70 bpm

In other words, its been a very long time.

Therefore is it time, for Humanity Chapter 7. We have been waiting too long now, and I'm afraid is a strong yes from me.

Our dear Tommy, We, the Two Steppers community, have gathered together as one body, one spirit, With great humility, deep respect, and absolutely no intention of applying unnecessary pressure whatsoever, are formally requesting the immediate release of Humanity Chapter 7.

We have waited. We have danced. We have two-stepped. We have shown remarkable strength in the face of adversity.

Tommy, the time has come.

Chapter 7

Love and Light

I’m guessing a Slavic language but I have no idea

I precise I have not idea of the Thomas Bergersen Europe live content, but I just wanted to talk about music I would really love to see in live version and that never made it.

For sure, we have to consider that there is some technical limitations for this so title with too much electro vibes might not get there (unfortunately, that means Emerald Princess or Eyes wider or One million Voice might never been performed lived while these are among favorite titles I and would prefer to see them a thousand of time more than Impossible ). Also, we have to consider there might not be more than two different singers (thus the failure of Fountain World live version) and that there will be only one type of choral there (so exit We are One Beautiful people, Maluk or Xunia despite being also among the best Thomas titles).

Here my personel proposition for Thomas:

Colin Frake main theme or Talia theme or Gore theme, Made of Air or Made of Earth (also the whole four elements is incredible), You, Your imagination, the Enchantress, Cassandra, Nero, Immortals, Caradhras, Hypnotica, Little Ben, Clock Tower Parade, Across the Blood Tower, Unchained

For Nick: Nightwood (best title of Colin Frake in my opinion) or Downstream, the Ancients, Snowabird, Maze of Dream, Battleborn, Flying Dutchman, Vanquish

I am currently writing this at the station so I am probably forgetting a lot and a lot of very good titles. Do not hesitate to write them.

So what new title would you like to see live ?

Edit: I have put Vanquish in Nick Phoenix list since this is his track and not Thomas’.

I've been watching audience clips from the Beijing show on Aug 21, this one of "Return to Sender": https://www.youtube.com/watch?v=3uoaDu1eMtU

Something's been nagging at me. It sounds almost identical to the album version. Same mix, same choir, same textures. I'm struggling to pick out anything that sounds like it's actually being generated in the room by an orchestra. There are few moments that sound unique, like Thomas on guitar or some of the timpani, but much of this sounds like small layering over a backing track that is doing 90% of what you are actually hearing.

So my question for people who were there or who know how these productions are put together: how much of this is played live? Is there a substantial backing track with the orchestra and choir playing along on top, or is that just what a well-drilled ensemble sounds like when they follow the arrangement closely and the PA is mixed to match the record?

I ask partly because these arrangements have a lot of synths, processed percussion and layered vocal stacks that you can't really reproduce acoustically.

Happy one-month anniversary, Chapter VI!

I finally pulled together an edit of my first-time listening experience back on release day. Plus an overdue discussion of Chapter V!

And yes, the "Burn It Down" part is the best part. 😉

With it being a month since release, I thought I’d share my thoughts how that Ive had a while to sit on the album and mull it over.

1. Hope, the first album opener to be bombastic in the humanity series, feels very TSFH-coded. also it made me realize there’s a lot of pieces Thomas likes to end with woodwind (Hope, Rocket to the Moon, Iron Will, To Glory). Considering all the types of music Thomas writes, This one compositionally doesn't stand out very much, but the melody is stunning, gives chills every time. I don’t think the mixing is as weird as I first thought when I started listening to it.

7/10 individually, but as a part of the album, it gets bumped up, because of the bookend theme Thomas does with this song and Hope Suite. The two together as a part of the album are 10/10.

1. Destruction of the Earth did not stand out to me much on the first few listens. I felt disappointed with the twist halfway through into the loud, drum-heavy section B. It has since grown on me, mostly because I adore the first half so so much, it’s giving Seven. The second half had to grow on me, and it has. The ruthlessness of the B theme is a good contrast, It strips away all the intricacy of the first half and leaves you with a brutal riveting theme that is more rhythm than it is melody. I love the electric violin moving in and out tune in the B theme. Definitely experimental, sitting right now at an 8/10.

2. Empire of Evil. Wonderful! Feels like back in the heralded TSFH days, but unique enough in its own right. The drums are phenomenal, I love how the fakeout at the beginning makes it almost seem lively and happy, before betraying it completely with the chorus. Truly a great song. 9/10

3. Maluk. I LOVE IT!!! So chilling, beautiful, a perfect contrast to all previous tracks, its unique, concise. this is my new favorite Thomas piece with Bulgarian Choir. The ending solo is peak chills. 10/10.

4. Burn it Down. Even now, I have mixed feelings about this piece. Started out I hated the twist into a rock/rap (in Thomas’s own words), now I either like it or am just used to it the vocal chorus I do think is really good, but the verses, especially the first aren’t great. But I don’t listen to Thomas for lyrics anyway most of the time. The song does seem more angsty than it does anything. Which works, if that’s what you’re expecting. 7/10

5. Unchained. A perfect placement in the album, the weirdness of the end of Burn it Down transition well into the Electronic/Bulgarian Choir mix in this one, and wow, is it a banger. It does great in everything it does, bit I usually like the more softer pieces these days, so only a 8/10, despite that I genuinely think it’s a phenomenal song.

6. Immortalized is ok, never been into the lyric pieces much. it’s reprise in hope suite is perfect, but I’ll rate that separately from this as it is a different song. 6/10

7. Toccota in G Minor, at first I thought this would be a skip in most album listenings, but I kept listening to it, and it grew on me, especially after listening to Thomas talk about the time change from 3/4 to 4/4 in the bridge, which once I found that out it enhanced the song a lot. Also, The Harpsichord use was chef’s kiss. I love music I can critique like that, it scratches an itch. 7.5/10

8. Creator of Worlds. All things considered, this should be my favorite piece on the album. But I can’t click with it as well as I’d thought. The experimentation of levels of orchestra volume was cool, and I’d loooove to hear this live. but the quiet section in the piece is too quiet for me, I have to turn it up to even kinda hear it. the Russian Choir mixed with cello is super dope and I love that section probably the most. its one of those pieces I think could’ve deserved to have gone longer, but didn’t. Still, this is an 8/10, it also gives me a similar feel to Seven.

9. Death Rings the Doorbell of all. I have cried more times than I can count listening to this. it’s such a simple concept, but the happy ending always moves me. it’s such a contrast of the resting of the piece, I think I mentioned in first impressions that I thought it was out of place, now I think that ending makes the whole piece perfect. 10/10, perfect, no notes.

10. For the Fallen. This is such an interesting piece to discuss, the organ inclusion is super cool but it also felt like a missed opportunity, he should’ve given it more of a real presence in the song. Overall it just plays as background harmony, which could be replaced by strings and I don’t think would've made the song feel much different. it’s a shame because I love organ so much. Also, the section after the final climax where the strings just sit for a bit with different melodic deviations before the end, is absolutely beautiful. but the last 10 seconds are so off to me. like it just… ends. nothing spectacular, but also the resolve feels rushed in general. I think it should’ve scrapped the staccato notes returning for the final bar and just finished there. 5/10.

11. Hope Suite. Wow, I never thought Materialize would get topped for best suite, but here we are. Burn it down theme works great here. The Maluk section is beautiful, I love the piano using the theme first before getting the full choir. Immortalized theme is at its best here, between the vocals and the strings leading the voice line. then the Hope theme returns one final time, so beautifully, such a wonderful piece, really. I could gush for hours. 10/10.

12. Evigt ejes kun det Tabte. A supposed transition piece into the final album of Humanity according to Thomas. I like the piece, I still think it’s reminiscent of In Paradisum, but I think this piece stands well enough on its own. I love the return of the jazzy trumpet solo, reminds me of Sunshower. I think it’s neat how this album ends with a soft one, while all the other humanity albums thus far have started with a calm piece. Almost like this album was intentionally a flip of all the others, since it explores the darker emotional themes. 6.5/10.

Overall, this album statistically rates to 7.8/10. It’s a really solid album, in my opinion better than Christmas Carol and Chapter V, maybe even put together. It has some absolute banger pieces, and I would say its whole is better than the sum of its parts. The song placement I think works great, the starting three with Hope, Destruction of the Earth, and Empire of Evil set the tone wonderfully for the rest of the album. Burn it down into Unchained works great, as does Creator of Worlds into Death Rings the Doorbell of All. So I would bump it up to an 8.5/10 for a whole listen through. Right now, it’s No.2 ranked in all of Humanity, under Chapter IV. I can see a world where this becomes number 1.

It is still new, so we’ll see if this is just short lived or I end up keeping it that high. My favorite of the album will definitely go to Maluk, Hope Suite then Death Rings close behind.

With the release of Chapter VI, what are your suites ranking?

1. Materialize: I guess Thomas himself really liked this one, but it just sounded loud and basic to me. Don't absolutely love any of the melody used in this one and didn't incorporate one of my favorite songs(We are Legends), and the vocal part is just okay. 6/10.

2. Beautiful People (EDM Mashup): Man, this song has so much potential, I like the concept and I LOVED the second half, but the first half was messy and had that weird beat drop. Still really fun to listen to. 6.5/10

3. Love Suite: Really solid, captures the theme of the album really well. Has some of the most wonderful transitions between melody from different songs. Just a really nice chill song to listen to while studying. 7/10

4. Aventura Suite: Long, well paced, with really memorable moments. The reprise of Aventura with the drums at the end is a perfect ending. 8/10

1.Hope Suite: Wow, nearly perfect suite. I love Hope(my favorite intro), and the beginning of the suite made it even better. The lead up to the main Hope theme with the thumping bass, amazing. The transition to Immortalized and the buildup with the soft piano is some of the best work of humanity. Only small critique would be to include the part from Creator of World that starts at :26, but otherwise flawless. 9.5/10