在重复部分中，一班哥特式的合唱团给予了歌曲高水平的背景人声，增添了几分感觉。在第二段中作为背景的喧嚣声也起到了同样的作用。
During the chorus, a Gothic choir provides some splendidly deep backing vocals that add a greater feel to the song, as does background noise put over the top in the second verse.
yuksel Arslan “，伴随着人声被堆叠成几近达到交响乐般宏伟的迷你合唱的一首摇曳的华尔兹。”
Yuksel Arslan ", a lurching waltz with voices piled up into a mini choir that hits with an almost symphonic grandeur."
具体说来，就是专辑大部分听起来像标准版的Coldplay：大量运用吉他回声作为铺陈；时常通过渐入假音的方式进行的“woah-ah”咏叹式的合唱及人声部分，来使歌曲高度戏剧化。
A lot of it just sounds like standard-issue Coldplay, replete with echoing guitars, woah-oh choruses and vocals that signify high drama by slipping into falsetto.
为人声和钢琴而作的第2交响曲中的合唱曲缩编谱。
Reduction of the choral score of Symphony no. 2, for voices and piano.
它将氛围、环境音乐与侵略性融会在一起，形成了一种脱离了传统的合唱、韵文和重复往返的人声和乐器演奏的独一无二的重型音乐风格。
It combines ambiance, atmosphere, and aggression to form a unique style of heavy music which leans away from the traditional elements of choruses, verses, repetitive vocals or riffs.
在教堂这样的场合唱歌，由于环境、混响等因素的影响，甚至能改变一个人声音的特点，激发更精彩的表演。
Cathedrals because singing in that setting (atmosphere, reverb, etc.) alters the character of even a single human voice and inspires a greater performance.
在教堂这样的场合唱歌，由于环境、混响等因素的影响，甚至能改变一个人声音的特点，激发更精彩的表演。
Cathedrals because singing in that setting (atmosphere, reverb, etc.) alters the character of even a single human voice and inspires a greater performance.
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