What happens when time stops? 'Suite: The Waiting Room' is a sonic exploration of the pause between worlds. We wanted to create a piece that felt both claustrophobic and infinite, using vintage analog textures and modern production to tell the story.
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Story behind the song
The Movements of the Suite
Part I: The Grand Entrance (0:00 - 1:45)
The track opens with a sense of ceremony and weight, establishing the "Waiting Room" through minor-key piano and a steady, rhythmic pulse.
Part II: The Clockwork Descent (1:45 - 3:30)
The tempo feels more urgent as the arrangement introduces intricate guitar layers and a driving bass line, representing the anxiety of the "wait".
Part III: The Void / Instrumental Soliloquy (3:30 - 5:15)
The song breaks into an experimental, atmospheric section where the traditional structure dissolves into ethereal synths and a soaring, emotive guitar solo.
Part IV: The Final Transition (5:15 - End)
The full band returns for a grand, orchestral-rock finale, shifting into a major key to represent the clarity and release of finally leaving the room.
In Part III, we specifically removed the drums for a moment to simulate the feeling of weightlessness one might feel when time truly stands still. It makes the final return of the rhythm in Part IV hit with much more emotional impact.
The Bach Connection: A Dialogue Between Worlds
In the same way that Bach’s "Double" Violin Concerto (BWV 1043) is celebrated for its "conversation" between two independent voices, "Suite: The Waiting Room" utilizes intricate melodic counterpoint to represent the internal and external struggle of the wait.
Just as Bach weaves two solo violins together, this suite features a "musical tag" between the lead guitar and synthesizers, with each voice responding to and expanding upon the other’s ideas.
The Power of D Minor: By leaning into the same home key of D Minora key Bach famously used to evoke religious devotion and gravitas the track achieves a similar sense of timelessness and weight.
Movement Structure: Much like the Vivace-Largo-Allegro structure of BWV 1043, our suite moves through distinct emotional landscapes, shifting from energetic "conversation" to a deeply lyrical, introspective middle section.
While 'Suite: The Waiting Room' is firmly rooted in Progressive Rock, its DNA is heavily influenced by the Baroque precision of J.S. Bach’s Concerto for Two Violins (BWV 1043). By applying Bach’s signature use of counterpoint to a modern cinematic landscape, we’ve created a piece where every instrument acts as a voice in an ongoing dialogue about transition, time, and the unknown.
Lyrics and concept by Ward C Locke. Inspired by J.S. Bach. Music produced using Suno AI.
Lyrics
[Movement I: The Waiting Room]
A man in a checkered coat
Checks his watch against the wall clock.
Both stuck at different times.
He folds his ticket smaller and smaller,
Each crease another year he lost.
The woman beside him hums a song
From before she learned her name.
Her shoes don't match. One red, one brown.
She says: "They're calling us soon.
Did you remember what to say?"
[Movement II: The Clockmaker's Daughter]
Through the door marked "Performers Only" -
The clockmaker's daughter winds the springs.
Gears fall from her pockets,
Teeth catching on the floor.
"Father built a watch that runs backward.
Sold it to a banker who wanted his wedding twice.
Now he's stuck at the party, always dancing,
Always cutting the same cake."
[Movement III: The Cartographer]
A mapmaker spreads his last map -
All the lines drawn in fading ink.
"I drew the country of Almost," he says
To whoever's listening.
"Where everyone lives who meant to call.
Where the letters sit unfinished.
I lived there forty years
Before I saw the streets kept changing
Every time I turned around."
[Movement IV: The Gardener's Confession]
The gardener comes in with dirty hands,
Holds a pot with nothing growing.
"I planted every sorry I didn't say.
Watered them with excuses.
The garden got so thick
Nothing real could grow.
This morning I dug it up.
Found bones of talks we never had,
Roots like phone numbers,
Dead seeds of things that almost were."
[Movement V: The Stage Door Opens]
And then -
The curtain opens on daylight.
The man's watch shows now.
The woman's shoes match.
The clockmaker's daughter holds just her hands.
The mapmaker's map shows where he stands.
The gardener's pot blooms white.
They all walk forward
Into whatever comes -
Just them watching each other,
Nothing to perform but this:
The part where practice ends
And real life starts.
The lights turn on!
