Ólafur Andersson
YOU TAKE US DOWN WITH YOU
Our debut album is a Peace Oratorio in a rock music style. In contrast to classical oratorios, it is not sacred; rather, it presents a cultural-historical perspective, using human-recorded stories and thoughts to explore the sources of conflict and warfare throughout humanity—from creation to the apocalypse. The album is set in a rock music style, incorporating even the earliest written records, such as the Epic of Gilgamesh and the Hurrian Hymn.
Overture & Prolog: The album presents the creation of humanity based on the stories of the Epic of Gilgamesh, which corresponds to the first track, introduced by the Overture and the Prologue’s Accusation Speech. The Accusation Speech voices the perennial questions of humanity toward its leaders—not in an attacking way, but in the name of life, in accordance with human law and the laws set by legislators. It seeks answers to the misguided decisions that drive the Earth, nations, and masses toward catastrophe. The accusation gradually turns into self-accusation, as the elected leaders are placed in positions by us that allow them—through serious, often thoughtless, or manipulative interests—to bring about these catastrophes.
I. Movement: The Creation of the World (according to the Epic of Gilgamesh)
The story unfolds in four parts, interwoven with original Sumerian text passages. It begins with the creation of the world, followed by the sacrificial shaping of humanity, and culminates in the dawn of human existence, when Enkidu is exiled. After nights spent with Shamhatu, Enkidu leaves the safety of the animal world to live as a human, thus laying the foundation for human life.
II. Movement: Dante’s Paradise
Humanity arrives in a world of untroubled bliss, abundant and carefree. Yet, over time, this perfect serenity becomes unsettling. Humanity longs for something more—something it cannot fully articulate. Driven by curiosity, it leaves Paradise to explore and understand the complex reality of the world. This movement also incorporates passages from Dante’s original text.
III. Movement: Goethe’s Faust
Humanity takes on the role of Faust. We witness Mephistopheles’ reception by the Creator and Faust’s subsequent seduction by the tempter, presented in both German and English. Faust succumbs to temptation, becomes entangled in sin, and this movement concludes with his descent into moral and spiritual darkness.
IV. Movement: The Apocalypse of the Modern Era
Humanity, in the modern world and holding a smartphone, witnesses the advent of the end. The story of the Four Horsemen—or, here, four manifestations of light—unfolds in four parts. At the moment of comprehension, nuclear fission occurs, and humanity disappears—smartphones, Gilgamesh, Hurrian hymns, Dante, Goethe, everything vanishes from the Earth. Apocalypse.
Closing Scene: A first walk through the exploded city, guided by a survivor.
Epilogue
A message emerges: the need for a shift in perspective, an unconditional respect for life, and the peaceful, political resolution of conflicts. The change in mindset calls for serving the betterment of life, transforming adversaries into partners rather than opponents.
Song
Audio MP3 - 30 sec.
Songtext pdf
Overture:
The musical introduction to the work.
04. The Threat of God: Humanity is created and steps out of divine safety, beginning its earthly journey.
5. Enkidu and Shamhat: Enkidu meets Shamhat, who introduces him to his own body. Humanity is expelled from its previous life, the animal world, and begins to explore the wider world (the Exile according to Gilgamesh). In the oratorio, Enkidu personifies humanity, and we follow him all the way to the present day.
7. Hold Yourself: Enkidu enters Dante’s Paradise, beginning with Dante’s original Italian text. Enkidu is encouraged toward a blessed, eternal life if he can maintain purity and remain free from sin.
8. Decide: Enkidu (Dante) enters Paradise, where Beatrice awaits him. She asks him to make a vow for their eternal life together, through which he can prove that he deserves the paradisiacal life and eternal happiness with the love of his desires. However, he hesitates.
9. You Stare: An inner voice encourages Enkidu (Dante) to make the vow equivalent to an oath. It also elaborates on the meaning of the three sources, with original 13th-century text excerpts from Dante.
10. Mephisto’s Song: A seductive figure sneaks up behind the hesitant Enkidu and begins persuading him not to make the final vow. “Come down to Earth,” he urges; there, there is adventure, while here in eternity there is only boredom. He promises that for a single woman, Enkidu could have everything on Earth—money, glamour, power—if he follows him. Enkidu is tempted and leaves Dante’s Paradise. At the very end of the song, now on Earth, the figure introduces himself: he is Mephisto—we have arrived in Goethe’s Faust.
11. You’ve Returned: Enkidu has returned to Earth, allowing himself to be lured out of Eden. The poem rebukes him for this mistake, yet encourages him that, having already cast away his fortune, he should still remain human in this hell. As Faust, Enkidu begins his earthly life.
12. The Noise Is Gone: Enkidu (Faust) struggles with himself—whether to remain human and accept earthly suffering if necessary, or to embrace the empty glitter and power offered by Mephisto. With original verses by Goethe.
13. I’ve Walked These Roads: Decades have passed since Enkidu left Eden. From his experiences and feelings, he draws the final conclusion: outward appearances are not worth it, and a deliberate series of mistakes cannot replace inner peace. Power does not substitute for purity. Enkidu’s (Faust’s) confession, with original excerpts from Goethe and English literary translations.
14. All are clear: His sins are read aloud to Enkidu. The poem speaks in the voice of the people of all times. And since Enkidu (Faust) has returned and repented, the people forgive him. However, he cannot escape divine judgment.
15. The modern Human: With a mobile phone in his hand, Enkidu stares into nothingness. The song confronts humanity with the stages of its development so far, right up to the brink of regression. It poses a question: if everything has changed since Creation, there is one thing humanity has still failed to shed—conflict resolution, and war.
16.Bad is Good: The globalist system has turned humanity into dumbed-down, bio-robotic humanoids, incapable of independent thought—not in a political, but in a technical sense. When one’s judgment is no longer guided by personal opinion or knowledge, but by the screen in one’s hand. As a judgment, the song’s lyrics foresee the inevitable consequences of this regression.
17. The White: The appearance of the Four Horsemen of the Apocalypse, experienced as a featureless whiteness, while a mysterious voice speaks within everyone, beginning to list the names of deadly plagues.
18. The Red: Slowly, the sacrificial blood seeps through the all-encompassing whiteness. Hatred arises, attacking as a sensation, coming from all directions and from everyone.
19. The Black: Everything turns pitch black, and a terrible hunger descends upon humanity. What is this? Even Enkidu has just eaten a hamburger.
20. Strangely Colored: An indeterminate-colored light pierces through the blackness. It grows stronger and more powerful, awakening consciousness in humanity. Nuclear fission occurs, opening a hellish abyss and sweeping away a quarter of the Earth entirely.
21. The Iron Egg: The deathbird Enola Gay flies, carrying an iron egg in its belly. The chick of the deathbird is itself death. Do not play with the iron egg—remember, it has already been unleashed against humanity twice!
22. My City After the Flash: A survivor shows their city among the ruins, recalling the life that once was—balls, concerts, and celebrations.
23. Epilogus, Message: The message of the oratorio: the need for a shift in perspective, for love, and for the pursuit of growth.
24. The End: When all is ended, there is hope that Paradise is open. Overture of Paradise.