The Atlantis Sessions is a descent rewritten in reverse — an experiment in recursion, where one set of lyrics fractures into multiple worlds of sound and meaning. Each version reshapes the same confession: a man swallowed by the sea, reborn in the hush of Atlantis, and sent back to the surface to say goodbye to the air.

The verses shift like tides — sometimes a whisper through static, sometimes a cathedral of pressure and light. Every track rewrites the same words differently, as though memory itself were drowning and resurfacing with altered lungs.

The bonus tracks — Nature & Nurture, High Seas, A Long Voyage Ahead and Asleep — are the last voices heard from the surface: brief, gasping fragments, recorded before the water closes for good.


Atlantis

The Shape of the Trees

Hell is a chronicle of divine erosion — a cycle of songs that reimagine the gods not as rulers of heaven, but as wanderers adrift in the wreckage of meaning. From the mirror’s disciple who prays for reflection to answer back, to the wingless seeker drawn toward the chorus of impossible birds; from the seasons wooed and surrendered to, to the fallen courier learning how to read — each piece fractures myth into human light.

The gods have stepped down from marble and orbit alike — their echoes pulse through time, dressed in the syntax of dust and dream. In Hell, the sacred is no longer sung but remembered — blurred at the edges, trembling through voice and vacancy. It is the sound of immortality learning its first breath of doubt, the music of eternity realizing it was never infinite at all.

Lethe

Hell

Mnemosyne

Dying To Love

Euler (stylized as e) is a seven-member, masked metalcore collective from Montreal, Canada, active since 2021. Their sound bridges technical precision with emotional intensity—balancing clean melody and abrasive rhythm in equal measure. Layers of guitars, electronics, and vocal harmonies build into structured chaos that never loses its purpose.

Each release is an invitation: cover it, distort it, translate it, make it your own. Listeners are encouraged to share their versions, remixes, or reimaginings—pushing the songs further than the band ever could alone.

In the end, Euler’s sound is a conversation, not a statement.

The Shape of the Trees

e

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