Fix what’s wrong, but don’t rewrite what the artist wrote. Stick to the official released version — album booklet, label site, verified lyric video, etc. If you’re guessing, pause and double-check.
Respect the structure
Songs have rhythm. Pages do too. Leave line breaks where they belong. Don’t smash things together or add extra empty space just for looks.
Punctuation counts (but vibe-editing doesn’t)
Correct typos? Yes. Re-punctuating a whole verse because it ‘looks better’? Probably not. Keep capitalization and punctuation close to the official source.
Don’t mix versions
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Let the lyrics be lyrics
This isn’t the place for interpretations, memories, stories, or trivia — that’s what comments are for. Keep metadata, translations, and bracketed stage directions out unless they’re officially part of the song.
Edit lightly
If two lines are wrong… fix the two lines. No need to bulldoze the whole page. Think ‘surgical,’ not ‘remix.’
When in doubt, ask the crowd
Not sure what they’re singing in that fuzzy bridge? Drop a question in the comments and let the music nerds swarm. Someone always knows.
This song is bassed in one tale wrote by H.P. Lovecraft, an horror and sci-fi author from early twenty century which Karl Sanders and other members of Nile are declared fans.
In the tale, a lone explorer enter to a city that has been apparently abandoned at the sands of the arabian desert for aeons, as the tale continues he discovers a sort of temple where he found a subterrain passage, and there the momified corpses of reptilian creatures, aparently sacred creatures to the old inhabitants, and the chronicles of the city in form of murals.
It's only at the end of its exploration where the explorer manages to discover terrified what truely were the inhabitants of the city and in what they had become with the pass of the ages.
I agree with Kane Nash but would like to expand it a bit. This song takes its title from an H.P. Lovecraft tale. The Nameless City tells the story of Randall Carter and his experiences amongst the catacombs wherein dwell the spiritual remnants of a race of prehuman serpent creatures who built a great civilization, and then retreated beneath Earth to a vast subterranean city the coming of Man. They exist now only as hateful shades that come forth from the pits and chasms of their Sabatean resting place in the form of a howling, swirling, tempestuous wind. They possess an utter hatred for anything human, and are driven by a maddening thirst for vengeance against the human race. Musically, the piece contains many chanting voices: gongs: choir-like monks: subliminal, horrific screaming: African ritual shakers fashioned from human bone and resonant Tibetan chanting. It also includes a Tympanic Kettledrum solo. The chanting voices are reminiscent of the Arabic ceremony of Dhikr. In the Dhikr
ceremony, all the participants repeat the name of Allah in a system of hypnotic respirations that bring them to a kind of serene detached trance. The
leader then psalmodies an improvisational poem that may be either sacred
or profane. In this case it is a chant of the Coptic tradition, which has maintained its original form from a pharonic chant. It is said that this melody
was one that accompanied the embalming of mummies.
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This song is bassed in one tale wrote by H.P. Lovecraft, an horror and sci-fi author from early twenty century which Karl Sanders and other members of Nile are declared fans. In the tale, a lone explorer enter to a city that has been apparently abandoned at the sands of the arabian desert for aeons, as the tale continues he discovers a sort of temple where he found a subterrain passage, and there the momified corpses of reptilian creatures, aparently sacred creatures to the old inhabitants, and the chronicles of the city in form of murals. It's only at the end of its exploration where the explorer manages to discover terrified what truely were the inhabitants of the city and in what they had become with the pass of the ages.
I agree with Kane Nash but would like to expand it a bit. This song takes its title from an H.P. Lovecraft tale. The Nameless City tells the story of Randall Carter and his experiences amongst the catacombs wherein dwell the spiritual remnants of a race of prehuman serpent creatures who built a great civilization, and then retreated beneath Earth to a vast subterranean city the coming of Man. They exist now only as hateful shades that come forth from the pits and chasms of their Sabatean resting place in the form of a howling, swirling, tempestuous wind. They possess an utter hatred for anything human, and are driven by a maddening thirst for vengeance against the human race. Musically, the piece contains many chanting voices: gongs: choir-like monks: subliminal, horrific screaming: African ritual shakers fashioned from human bone and resonant Tibetan chanting. It also includes a Tympanic Kettledrum solo. The chanting voices are reminiscent of the Arabic ceremony of Dhikr. In the Dhikr ceremony, all the participants repeat the name of Allah in a system of hypnotic respirations that bring them to a kind of serene detached trance. The leader then psalmodies an improvisational poem that may be either sacred or profane. In this case it is a chant of the Coptic tradition, which has maintained its original form from a pharonic chant. It is said that this melody was one that accompanied the embalming of mummies.