mind.in.a.box’s third album Crossroads is about amnesia. The second song is titled “Amnesia.” The short story included in the lyric book reveals the protagonist Black’s memory was wiped between the previous album and Crossroads. In the opening song, Black tells the listener his former boss White “tried to erase my identity.” The band’s official story synopsis, interviews, and many reviews of Crossroads include a remark that this chapter of mind.in.a.box’s science fiction saga is about Black’s amnesia.
Crossroads was the first of mind.in.a.box’s concept albums to include a supplementary short story, and its clarity in comparison to Markus Hadwiger’s esoteric lyrics suggests Black’s amnesia is a fact closed to interpretation. In an interview with I Die You Die, however, mind.in.a.box’s producer Stefan Poiss suggests German science fiction author Andreas Gruber wrote the short story while listening to the completed album. That is, the short story was only an interpretation of Hadwiger’s lyrics and Poiss’ music, not canon at the time. It inspires the listener to seek the story told in the album’s content, but that story doesn’t have to be the one Gruber found.
When analyzed without the supplementary short story, Crossroads doesn’t have to be about amnesia, at least not about any of the events that have transpired since the first album Lost Alone. Instead, it continues a realization Black has from the second album Dreamweb: he is a pawn who discarded his identity long before the albums’ events began.
Evidence for this conclusion begins with mind.in.a.box’s first chapter Lost Alone. This album contains two “story songs”: “Waiting” and “Forever Gone.” Underplayed by atmospheric electronic music, these songs feature a nameless agent reporting his activities in tracking a “he” and “she.” Crossroads names the agent Black and the fifth album Memories formally links the “he” to The Friend and “she” to Night, character names which also begin appearing in Crossroads. For simplicity, I’ll refer to these characters using these names.
These story songs invite the listener to interpret the rest of the album through the perspective of these three characters. Poiss’ vocals and use of vocal effects to portray characters, mental or physical states, dialogue, inner monologues, and subconscious thoughts supports multiple interpretations. One reviewer can interpret all the songs from Black’s perspective. Another can assert only the story songs are part of the storyline and the remaining songs, while fitting the theme, are unrelated. “Walking” can be interpreted as Black’s subconscious thoughts or The Friend’s conscious ones, and “Lost Alone” implies multiple miserable narrators exist, unaware they are lost alone together.
You are not the only one,
Lost alone in this world.
Lost alone in this world.
There are others beside you,
Feeling empty and hurt
Feeling empty and hurt.
For me, The Friend is the primary narrator of Lost Alone but, crucially, not the only one. Sung in Poiss’ natural singing voice, the fourth song “You Will See” describes The Friend’s fall from a position of power, causing his partner Night to abandon him. Angered by her shallowness, The Friend vows to return to his place of prominence, but she will never be a part of his life again.
Reviewers often interpret Poiss’ distorted vocals in the second song “Change” as feminine. With this in mind, “Change” depicts Night’s perspective of the relationship’s end. Her reason for ending it has little to do with The Friend’s former position. Rather, it stems from a fear of closeness and the change it brings, fears she misinterprets as selfishness.
I do not need anybody else,
Bonds would put my mind into cells.
…
I am the one who cries out at night,
For somebody to change my very core.
Not sure why I live in endless fright,
Doomed to love only myself for evermore.
Supporting this interpretation, the opening song “Light & Dark” features two characters, one represented by Poiss’ natural singing voice and the other by feminine vocals, repeating the same lonely refrain.
I feel sad, so left alone.
Words are not enough,
For me to live on.
This and the rest of the album illustrates how the two characters really feel. Despite his spiteful words in “You Will See,” The Friend “Questions” his decisions and becomes so lost in heartbreak that he doesn’t notice Black has placed a trace on him. Black notes this in “Waiting” and also reveals “he is looking for her. We thought he doesn’t know, but now he seems really desperate to find her.” The Friend has determined to reunite with Night it seems, but she has become difficult to reach. She’s escaped to what Black calls “the other side,” the Dreamweb as named in future albums. Black and his nefarious employer pursue The Friend in his desperate quest either to allow him to unwittingly lead them to the Dreamweb or to prevent him from becoming another escapee. Ultimately, in his effort to elude Black and reach Night, The Friend commits suicide, or that’s how it looks from Black’s perspective.
Somebody must have tipped him off.
…
His body. It was sprawled on the floor.
…
Either he is dead, or he has switched over.
Unknown to Black, The Friend has escaped the physical world entirely into the Dreamweb as suggested by the taunting lyrics interspersed with Black’s report in “Forever Gone” and by the hopeful lyrics of “Lost Alone 2.” Whether The Friend found Night on the other side or not, he doesn’t feel alone anymore.
Your mind the beacon that guides me,
When I’m lost I know I will find you.
Through the fire that consumes me,
You will know that I’m lost alone too.
The most important song on the album in relation to this analysis, however, is the final song “Leave.” Interpreted from The Friend’s perspective, it doesn’t make sense after the optimism of “Lost Alone 2.” Echoing “Questions,” “Leave” portrays restlessness and confusion.
This is not what I had wanted,
I have to leave this place
This is not what I had dreamed of,
I need to gain more space.
“Tape Evidence,” the opening of the second album Dreamweb, contains strong evidence that “Leave” is Black’s perspective. Although no longer tinny as if spoken through a phone, “Tape Evidence” features mostly spoken words rather than sung lyrics like Black’s reports. This suggests it’s Black complaining his dreams are restless. Interspersed with his narration are snippets from Lost Alone and Dreamweb. Immediately after Black says, “There were many things from my past,” is a clip from “Leave.” When interpreted as Black’s past and therefore his perspective, “Leave” implies he found The Friend’s apparent suicide deeply disturbing.
Besides “Tape Evidence,” Dreamweb provides two story songs for listeners to use as a lens to interpret the rest of the album. In the tenth song “Reflections” Black recounts what has occurred since The Friend “disappeared eight months ago.” Black’s employer White learns through an informant when Night will be at a club. In the eighth song “Dead End,” Black infiltrates the club but falls unconscious under the strange effect of the club’s music while pursuing her. When he awakens, he sees White attaining a tape from someone and leaving Black in the gutter. Black returns home, but the music remains stuck in his head. Then, in the opening song “Tape Evidence,” someone leaves a tape on his doorstep.
The reverse ordering and overlapping of these story beats not only gives context to the other songs but also encourages listeners to consider that the rest of the album isn’t in order either. Additionally, while some songs can be interpreted from The Friend’s perspective, Black becomes the dominant voice as he ponders his failure to attain the secrets of the Dreamweb.
Dreamweb is a character study analyzing what Black found so disturbing about The Friend’s death. Future albums elaborate that Black is an Agent working for an all-powerful, all-controlling Agency. The Dreamweb represents a place beyond the Agency’s control where minds may freely pursue their dreams, a synonym for goals or aspirations. In this way, the Dreamweb album uses the pursuit of the Dreamweb nearly synonymously with the pursuit of one’s dreams, particularly for Black. “Lament for Lost Dreams” reveals Black once had dreams, but unlike The Friend who was so devoted to his dreams that he left the physical world, Black abandoned his.
I cried for what was not meant to be,
A last tribute to lost dreams.
…
I will thrust my agony aside,
To prepare for a new day.
Black doesn’t say what his dreams were or why he felt he couldn’t reach them, but the following song “Machine Run” suggests that to escape the pain of losing these dreams, he devoted himself to the Agency.
Driven by the need to forget,
You had lost all your dreams.
Running from your pain and regret,
You wanted to escape their web.
“Sun and Storm” suggests that pursuing The Friend filled a void that Black’s employment could not. When The Friend vanished, taking all clues to the Dreamweb with him, Black became aware that the lost dreams he thought he was running from were also the ones he was pursuing. The Friend casts sunlight upon Black’s unhappiness but also a storm of uncertainty as to his identity as an Agent.
You had come to fill the void,
But you always were forlorn.
You had come into my life,
And you brought both sun and storm.
…
When you fell I had to stay,
But I think I’ve also died.
External forces also fuel Black’s uncertainty. In “Tape Evidence,” Black says, “I can feel them, in my head.” By some interpretations, “them” could be The Friend, Night, or the escapees they represent, what Crossroads calls the Sleepwalkers. Interpreted from The Friend’s perspective, “Out of Time’s” agitation suggests The Friend isn’t content with leaving behind those like Black who are unable to reach the Dreamweb.
No one feels his infiltration,
Always repenting of his crime.
Still stained with desecration,
Forever floating out of time
When he falls unconscious under the Sleepwalkers’ influence in “Dead End,” Black experiences “The Dream” in which The Friend infiltrates his mind.
You fell asleep and now you’re mine.
I feel so helpless and so weak.
Just let go and embrace your dream.
I’ve lost track of what I am.
“The Dream,” however, is also benevolent. Black begins the song lost in his hopeless search. The deep voice invading his mind then tells him truths about his life, and by the end, Black realizes this dream is his. He has attained access to the Dreamweb.
“Them” could also refer to White and the Agency, which only become more sinister as the album progresses. In “Reflections,” Black feels confused and betrayed by White’s assured presence at the club. When “You fell asleep and now you’re mine” in “The Dream” is reinterpreted as the words of White, Black’s experience at the club feels more like a setup.
Sensing Black’s uncertainty, his empathy for The Friend, and knowing of his lost dreams, White surmises that given the opportunity, Black may attempt to escape into the Dreamweb. He sends Black to the club to allow it to happen, which it does in “The Dream.” Unlike The Friend and Night who have evaded him, White is prepared for Black. He monitors Black’s entrance into the Dreamweb and then forces him to return. The tape represents the knowledge White gains from observing Black. No longer of use to him, White leaves Black in the gutter.
Several songs throughout the album support this interpretation. “Between Worlds” relays Black’s disorientation with returning to reality. Given a glimpse of the Dreamweb, rejected from his life as an Agent, and unable to return to the lost dreams of his past, Black feels “suspended between worlds.” He didn’t expect to return to reality either.
You thought you would not waken,
So what did go wrong?
In “Loyalty,” Black accuses White of stealing his dreams. Black thought he was pursuing the Dreamweb for the Agency, but it was his own dreams that he had never stopped pursuing. The unconscious desires he thought he had abandoned were exploited for the Agency’s gain.
You made me feel needed.
You could see my soul.
I gave you my loyalty.
You chose to make me fall.
Reinterpreted from White’s perspective, “Out of Time” depicts White as the covert influencer. It points out his crime in betraying Black, but also hints at his own personal reasons for pursuing the Dreamweb so relentlessly, reasons explored further in future albums.
Where will you find your soul?
When will you find your peace?
The second song of the album “Certainty” tells listeners Black is uncertain, but it’s the rest of the album that explores all the reasons he has for his uncertainty. The exchange of harsh frustrations and pleas for reassurance within “Certainty” could depict Black arguing internally with himself or Black arguing aloud with White. His need for reassurance could either be directed at The Friend after his apparent death or White after his betrayal.
It hurts more than anything,
My world now turns to ashes.
Your silence so demeaning,
My heart falters in flashes.
Seeing a potential ally in Black, the Sleepwalkers ensure he also receives the tape. Until they find Night, however, Black and White can still only speculate how the music opened the Dreamweb’s door.
Here the events of Crossroads begin. In the opening track “Introspection,” Black dreams he awakens in a glass tank of water. Night and The Friend watch him from the outside. This track names them for the first time but doesn’t clearly trace them to the “he” and “she” they’ve been referred to as until now. For now, they merely represent a benevolent force that have allowed Black to see the glass walls that have encased his life. Then, the glass shatters, freeing him to see the reality: White tried to erase his identity.
This opening track and the following track “Amnesia” create the impression that Black has forgotten all the events that have transpired. Simultaneously, they both hint he hasn’t.
I feel like I have amnesia,
but I know it’s myself I’ve lost.
…
I’m surprised I’ve come this far,
Living without what I need most.
These lyrics from “Amnesia” outright say Black doesn’t have amnesia. What he has lost is the identity defined by the dreams he once had, which the previous album already established. In the following song “Into the Night,” Black revisits locations from Lost Alone and Dreamweb but not because he can’t remember what happened there. He seeks to understand what gave him a glimpse of the Dreamweb and how he can access it again.
So you remember the night when I was following that girl?
What happened that night?
…
Sleepwalkers? Never heard… What are they?
Like the first song of Dreamweb, “Introspection” can be thought of as a recap of the previous albums and a preview of what’s to come. Black says:
I awoke in an empty flat that told me nothing.
And I knew that I had to get away.
White had tried to erase my identity,
But the Sleepwalkers had saved my mind.
Everything Black has and is was given to him by the Agency, so his flat would contain nothing personal to him, nothing that reminds him of who he was. White sought to turn Black into a thoughtless servant to the Agency’s goals and poacher of other people’s dreams, but Black’s encounter with The Friend awoke him to the lost dreams White was using against him.
While “Machine Run” from Dreamweb depicts Black abandoning his past identity, “Stalkers” from Crossroads adds that the Agency’s hive-mind-like collective of Agents contributed to Black’s erasure. Underplayed by a relentless march, “Stalkers” alternates between a drone of voices and the distorted vocals of a mind being erased.
We know we serve someone else.
We have swallowed our pride.
We march to this tune of loss.
We take this in our stride.
…
I can feel my thoughts dying out,
So my last thought is just your name.
And it is all that will remain.
In “Identity,” Black describes the contentedness felt despite his awareness that he’d been absorbed into a collective, but now he has resolved to find himself again. Still, obstacles make him hesitant. “Fear” contains general themes related to imposter syndrome and willful blindness. Imposters portray a certain persona, but internally, they believe they are fake and fear being discovered. The blind believe they are a certain type of person, but in reality, they fear recognizing their own flaws or hypocrisy. In the context of Black’s story, Black fears who he used to be, someone so flawed that he sacrificed his dreams to the nefarious Agency.
You have learned how to deceive,
And yourself is all you can hear.
You think you really believe,
But deep down you are only fear.
In “What Used to Be,” Black reaches the conclusion that it’s not too late to atone. The resolution to Crossroads culminates in “The Place” where Black accepts his old identity as lost. No matter where he goes from here, he will still be himself, reminiscent of a philosophical and psychological concept that the only constant in life is that you, the observer, are the one experiencing it. Identity, dreams, purpose, personality, all else is subject to change. In the previous two albums, Black hints that he has lost dreams, and in Crossroads, he reveals that he doesn’t know what they are either. He isn’t that person anymore, but that doesn’t mean he can’t follow a new dream.
And whoever I was, it doesn’t matter anymore I know.
All these memories hidden deep down below.
Though somewhere on the way before, all those things got lost,
I know there will be new things wherever I may go.
If I sound like I’m rejecting the most obvious interpretation of Crossroads for the sake of argument, other reviewers have reached a similar conclusion: Crossroads is about loss of identity. Black’s story certainly has elements of memory loss, but identity loss is the more relatable experience, adding to its credibility as Crossroads’ central event and theme. Listeners are more likely to have had experiences that led them to reevaluate how they see themselves and their place in the world than they are to have experienced amnesia. Regardless, Crossroads and prior albums are composed to support multiple interpretations. Markus Hadwiger and Stefan Poiss intended for their music to have multiple meanings. Perhaps that’s why their music is so enduring. Finding meaning and making connections between albums, songs, and ideas is like finding all the solutions to a puzzle, even when it gives the impression that there is only one.
mind.in.a.box releases a new album Retaliation on September 18, 2026.
You can find Part 3 of this series here.
