Throughout 2009, as work on the album progressed, Vernian Process sought out additional members in order to play shows to support the upcoming release of Behold the Machine, as well as record new material for future albums. Zarate joined in 2009, followed by Fargo, Figueroa, and Thomas in the latter half of 2009 and early 2010. They also feature Erica "Unwoman" Mulkey on most of their live performances. In early 2011 Free Fargo left the project, and a few short months later drummer Eugene Dryer III joined in his place.
Behold the Machine was released on October 1, 2010.
Vernian Process' musical influences range from Post-Punk/New Wave, Prog-Rock, Classic Industrial, Darkwave, Deathrock, Trip-Hop, Dreampop, Cabaret, Neo-Classical (and many more) filtered through a dimly lit Victorian lens. At times, epic, militant, and mechanical. While equally pastoral, serene, uplifting and positive when it chooses to be.
Vernian Process attempts to address collective human issues in the context of a dark, and whimsical 19th Century setting.
The project has featured guest contributions from Pasha Smith, Mitzi Jones, Malcom Schreeck of the Victorian Synthpunk band Unextraordinary Gentlemen, and Allison Curval of the group The Clockwork Dolls.
Into the Shadows
Vernian Process Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
The street looks when it's just rained
There's a glow off the pavement
You walk me to the car
And you know I wanna ask you to dance right there
In the middle of the parking lot, yeah
Oh yeah
I wonder if you know
I'm tryin' so hard not to get caught up now
But you're just so cool
Run your hands through your hair
Absent mindedly makin' me want you
And I don't know how it gets better than this
You take my hand and drag me head first, fearless
And I don't know why but with you I'd dance
In a storm in my best dress, fearless
So baby drive slow 'Til we run out of road
In this one horse town I wanna stay right here
In this passenger seat you put your eyes on me
In this moment now capture it, remember it
Cause I don't know how it gets better than this
You take my hand and drag me head first, fearless
And I don't know why but with you I'd dance
In a storm in my best dress, fearless
Oh Oh
Well you stood there with me in the doorway
My hands shake I'm not usually this way but
You pull me in and I'm a little more brave
It's a first kiss, it's flawless, really something,
It's fearless
Oh yeah
Cause I don't know how it gets better than this
You take my hand and drag me head first, fearless
And I don't know why but with you I'd dance
In a storm in my best dress, fearless
Cause I don't know how it gets better than this
You take my hand and drag me head first, fearless
And I don't know why but with you I'd dance
In a storm in my best dress, fearless
Oh oh, oh yeah
The lyrics of Vernian Process's song "Into The Shadows" tell the story of someone falling in love with another person and experiencing the excitement, uncertainty and fear that come with the early stages of romance. The song describes a beautiful moment shared between two people as they walk through a rain-soaked street and dance in the middle of a parking lot. The singer wonders if the other person feels the same way they do, but is afraid of getting too caught up in their emotions.
The chorus expresses how the singer feels about the other person; they think they are brave, fearless and cool. The singer feels the happiest when they are with this person and doesn't want to let go of this moment. They want to stay together, in this town, in this car, in this moment. The song's second half is about the two people kissing for the first time. The singer is shaky and scared, but the other person makes them a little more brave. The kiss is described as "flawless," "really something," and, most importantly, "fearless." The song ends with a repetition of the chorus, emphasizing how much the singer admires and loves the other person.
Line by Line Meaning
Somethin' bout the way
There is something about the way things look and feel after it rains.
The street looks when it's just rained
The streets have a certain glow and atmosphere after a rainfall.
There's a glow off the pavement
The light reflects off of the wet pavement.
You walk me to the car
The person being sung to is being escorted to a car.
And you know I wanna ask you to dance right there
The artist wants to dance with the person being sung to in that moment.
In the middle of the parking lot, yeah
The singer wants to dance with the person being sung to in the parking lot.
We're drivin' down the road
The singer and the person being sung to are driving somewhere.
I wonder if you know
The artist is curious if the person being sung to understands what is happening.
I'm tryin' so hard not to get caught up now
The artist is fighting not to be too invested in the moment.
But you're just so cool
The person being sung to is very cool and appealling.
Run your hands through your hair
The person being sung to is running their hands through their hair.
Absent mindedly makin' me want you
The person being sung to is unknowingly making the artist want them more.
And I don't know how it gets better than this
The singer is at a loss for how the situation could be any better.
You take my hand and drag me head first, fearless
The person being sung to is taking the lead and the singer is following freely, without fear.
And I don't know why but with you I'd dance
The singer has an unexplained desire to dance with the person being sung to.
In a storm in my best dress, fearless
The artist would be willing to dance with the person being sung to even in the midst of a storm, in their fanciest clothing, without fear.
So baby drive slow 'Til we run out of road
The artist is asking the person being sung to to drive slowly until they run out of road.
In this one horse town I wanna stay right here
The singer wants to stay in that town with the person being sung to.
In this passenger seat you put your eyes on me
The person being sung to is looking at the singer from the passenger seat.
In this moment now capture it, remember it
The artist wants the person being sung to to remember this moment.
Cause I don't know how it gets better than this
The artist is still unsure of how things could get better.
You take my hand and drag me head first, fearless
The person being sung to is leading the artist without fear.
Oh Oh
This line is simply an added exclamation of emotion.
Well you stood there with me in the doorway
The person being sung to is standing in the doorway with the artist.
My hands shake I'm not usually this way but
The singer is nervous and shaking, which is unusual for them.
You pull me in and I'm a little more brave
The person being sung to helps the singer feel more brave and comfortable.
It's a first kiss, it's flawless, really something,
The singer is referring to a first kiss that they had with the person being sung to, which was perfect and unforgettable.
It's fearless
The kiss was brave and fearless, just like the previous experiences of the artist with the person being sung to.
Cause I don't know how it gets better than this
The artist is still incredulous of how the moment could improve.
You take my hand and drag me head first, fearless
The person being sung to is still being described as leading without fear.
And I don't know why but with you I'd dance
The singer still doesn't understand their desire to dance with the person being sung to, but they feel compelled to do so nonetheless.
In a storm in my best dress, fearless
The artist would be willing to face anything with the person being sung to, bravely and without fear.
Oh oh, oh yeah
This closing line is just an added exclamation of emotion.
Contributed by Jayce K. Suggest a correction in the comments below.