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Tom Mody :::.::::..:..:.:.
Tom Mody
Fighting 50

Music: Mody, Zaia Lyrics: Mody

album cover art for Tom Mody's album Fighting 50
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Probing deep in the modern mind.
The undiscovered has been left behind.
What is has always been.
There is no end to my Zen.

When I saw with trusting eyes-
I only spoke with blinding lies.
Now I trust the silence within.
There is no end to my zen

Walking on water, floating on air.
Such limitations can’t compare-
to being one with the neverend.
Now is the when.

As the silence begins to roar.
And I wake from the evermore.
Feel the rapture, soak it all in.
There is no end to my Zen.


Tom Mody song liner notesThis is probably my favorite track on the album, I know it's Zaia's as well. And yes, it all started with a Matt Zaia bass track... but no, it actually started with the opening clean guitar melody and I kept Matt's original scratch guitar piece for the final product. But this is certainly my favorite Matt Zaia bass line that opens this track- just a killer riff. But it wasn't always the opening groove. This track had been around a while, probably back to 2013. I think I even tried to pass along some of the arrangements as I Storm tracks with Alan LoPresti and Jeff. It was arranged much differently and at some point I had an entire song arrangement. I had done a mix and master of that arrangement but it didn't balance right as a mix. I loved the pieces and especially Matt's contributions and I needed to salvage this composition. If you listen to the track now, the sections in which I'm singing were all new. Everything else was in the original arrangement but in different places. The song opened with the clean gutar but then went into a harmony section that is now the outro of the track. The climactic end arrangement of the song were verses and opening bass riffs were part of the chorus. I can't recall how or why I developed this arrangement but I likely just threw drum patterns in places to see if I could develop something new over the top of them. That's typically how I do things- drums first. I don't even remember my thought process to attempting to sing but I think I was scatting melodies and kind of realized I might be able to pull it off. I had done the scratch tracks for One Point of Light and knew the possibility was there. This wasn't power vocals though. This was airy, even oddly bluesy and emoting. But I laid some tracks down, turned a few knobs, got some telephone effect on the main vocal and added other textures and EQ's to the other voices and it was pretty cool what came to fruition. There really is no chorus to the song and that much I know was intentional, to try and do melodic verbalization as an augmentation to the track and not necessarily a lead vocal. From that perspective what I created was very unique. The ending I'm very pleased with as my intention was what came about, a building melodic harmonic climactic solo. Most of these processes and techniques of arranging segments is what I had done on my Resonant Aggressor album but although that album has great segments they never quite were produced and mixed to a proper cohesion. Everything was just a level above on this project and it all starts with good clean production and a bit more experience on the mastering side.


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