Синдром Восьмиклассника - Ваш социум мне отвратителен

куда пропала Элис?  - тёлка наркоманка

петля

Животное упадочных настроений

Нет ничего, это все сон

в ближайшее время я буду дома
в ближайшее время я буду один
скрывать свою ненависть мне очень сложно
хоть и плевать мне на остальных
идите вы нахуй со своей юностью
страданиями якобы по любви

(я ненавижу вас всех одинаково, абсолютно плевать кто вы такие!)

спаси-и-и, спаси-и-и, помоги-и-и

ещё пару дней я проведу дома
больно думать о будущем
страшно думать о прошлом
проебав настоящее
протяну руки к звёздам!

протяни руку к звёздам (prod. синдром восьмиклассника)

Lyrics:
Hopelessly in love — a tiny, hopeless heap of hope,
I’m going deaf … and yes, it’s you who tipped the slope.
Your fault — at least by half — I whispered “Stop, now choose!”
For months I yelled in silence, losing ground I’d never lose.
You stare so calm, and all I hear is ringing in my head;
I carry all that noise alone, the words we left unsaid.

What is the shape — love’s cornered scrap that doesn’t fit?
An L beneath my chin — too tight to breathe in it.
So close it hurts — or far as any sea;
I want a straight-up answer now — no detour left for me.

No means no — I choose me (2x)
I won’t take less — not anymore, I’m free.
Hopeless in love? A heap of hope — but free.
No means no — I choose me (2x)

Does he give me room to feel and trust what I can feel,
Or leave me drowning while my borders flood and peel?
Not long ago I tried to fit my misses into form,
Called it “wise” and placed it — but no light returned warm.

I stack up pretty reasons, swear they’re “reasonable,” I try —
But here they crack and crumble: no more light, no clear blue sky.

No means no — I choose me (2x)
I won’t take less — not anymore, I’m free.
Hopeless in love? A heap of hope — but free.
No means no — I choose me (2x)

I … choose … now … for … me (2x)
Choose — choose — choose for me.
Clear — clear — clear to see.
No means no — I choose me.
Hopeless in love? I set it free.

Take a stand — my eyes now whisper — looks like he leans her way;
My heart says “yes,” then “no,” then “yes,” then swings in wild delay.
No living faith remains that soul and spirit shine in you;
You do too much for “not with her” — so what of what is true?

False truths dim out — no light, no clarity;
I lay my weight, find center — fall back into me.

No means no — I choose me (2x)
I won’t take less — not anymore, I’m free.
Hopeless in love? A heap of hope — but free.
No means no — I choose me (2x)

Same old shine, same fake daylight;
Reasons pile and call it right.
Two, then three — the mountain grows,
Love-debris in cornered rows.
Hopeless in love — I tremble, small —
A heap of hope against the wall.

No means no — I choose me (2x)
I won’t take less — not anymore, I’m free.
Hopeless in love? A heap of hope — but free.
No means no — I choose me (2x)

Done … Choose … Now … For … Me (2x)
No means no — I choose me.
Choose — choose — choose for me.

No Means No

Introduction

The Day the Clocks Went Silent is a progressive concept album that explores humanity’s fragile relationship with time — and what remains when that relationship collapses.
Across twelve interconnected songs, the album follows an emotional, philosophical, and sonic journey through silence, chaos, awakening, and acceptance.

It begins with a single moment: the instant the world’s clocks stop ticking.
From that frozen second, the story unfolds through dreamlike reflections, surreal landscapes, and the inner echoes of a civilization learning to live without measurement — discovering the pulse of life beneath the tyranny of time.

Each track represents a stage of this collective awakening, blending field recordings, ambient soundscapes, orchestral textures, and expressive guitar work reminiscent of Pink Floyd, King Crimson, and Steven Wilson.
The album moves from tension to release, from disorientation to catharsis — ending in peaceful infinity, where time and sound merge into one.

The Concept & Narrative Arc

The album is divided into three conceptual movements — Collapse, Awakening, and Transcendence:

I. Collapse (Tracks 1–4)

Time stops.
The opening tracks (“Prelude,” “Fractured Hours,” “The Weight of Seconds,” “Ghosts of Routine”) depict a world unraveling.
Mechanical ticking fades into silence as people struggle to live without rhythm — haunted by routines that no longer have meaning.
The music is tense, surreal, filled with field recordings and experimental time signatures, symbolizing a fractured world.

II. Awakening (Tracks 5–8)

The silence deepens into introspection.
Songs like “A Silent Parade,” “The Sun Forgot to Rise,” “Chronos Sleeps,” and “Voices Through the Static” explore the psychological and metaphysical collapse of human order.
Time’s god, Chronos, dreams — and in his sleep, reality bends.
These pieces blend psychedelia and ambient textures with philosophical lyrics and cinematic spoken-word passages, evoking a trance-like descent into the subconscious.

III. Transcendence (Tracks 9–12)

From silence, understanding emerges.
“Beyond the Ticking Sky,” “The Return of Sound,” “The Clockless Dream,” and their motifs reveal a rebirth — humanity realizes that time is not a prison, but a pulse of existence.
The ticking returns, but now as the heartbeat of life, not as a chain.
The final track dissolves into complete stillness, suggesting enlightenment — or perhaps the final moment before the dream ends.

Philosophical Core

At its heart, The Day the Clocks Went Silent asks:

“If time stopped — would we finally begin to live?”

It questions our dependence on structure, measurement, and routine — suggesting that true consciousness may emerge only when the illusion of time collapses.
The silence between seconds becomes a metaphor for awareness, presence, and the rediscovery of meaning beyond linear existence.

Sound & Aesthetic

Musically, the album fuses:

Progressive Rock’s narrative ambition and shifting time signatures.

Psychedelic textures — reversed sounds, ambient drones, field recordings.

Art Rock’s cinematic scope, with orchestral and electronic arrangements.

Classic Rock emotion, featuring expressive guitar solos in the tradition of David Gilmour and Steve Hackett.

Experimental and cinematic production, blending organic and synthetic soundscapes into one continuous experience.

The album is designed to be listened to in full — a single arc that transforms sound into silence and back again.

Closing Statement

The Day the Clocks Went Silent is not just an album — it’s an existential reflection disguised as sound.
It captures the collapse of order, the beauty of uncertainty, and the rebirth that follows.
By its end, the listener stands where the journey began — but changed, hearing the world anew.

“In the silence, we finally heard ourselves.”

Prelude

O álbum é uma adaptação dos versículos Salmo 119, que é o maior dos salmos, em canções de adoração.

Ain – Teus Juízos São Justos - Salmo 119.121–128

Синдром Восьмиклассника - Розы

Синдром Восьмиклассника - Керосин По Моим Венам

Синдром Восьмиклассника - Никотин

люблю творчество альберта и максима фисенко