This page is A Perfect Circle — Mer de Noms — chord + lyric charts. It is one of the projects Brandon built and put online. The grown-up details are below, tap Grown-up mode to read them the normal way.
Tracks 04-11 charted from the FROMAUDIO pass (Moises htdemucs_6s stems; vocals excluded from chord detection; alignment is timestamp-approximate). Tracks 01-03 (Magdalena, Rose, Judith) and track 12 have no Moises stems available. Verify fine chord placement by ear. · Built 2026-06-12 14:06
Source: Moises chord analysis from htdemucs_6s stems. Key: C# minor, 4:48.
Main loop: C#m – F#m (i – iv). Chorus lifts to A – B – C#m (bVI – V – i).
Final guitar solo extends the i – iv loop. Album opener from Mer de Noms.
Key: C# minor. Scale: C#, D#, E, F#, G#, A, B
Primary verse loop: **C#m → F#m** (i – iv), unresolved. Chorus breaks the loop with A – B → C#m, the first real harmonic motion in the song. "Umbilical residue" lands on F#m each time.
[Intro — 0:00] C#m F#m C#m F#m (John Frusciante acoustic figure — no full chord stabs yet) [Verse 1 — 0:25] C#m F#m Metaphor for a missing moment C#m F#m Pull me in to your perfect circle C#m F#m One womb, one shame, one resolve A B Liberate this will to release us all [Chorus — 1:05] A F#m Gotta cut away, clear away C#m B Snip away and sever this C#m F#m Umbilical residue A B Keeping me from killing you [Post-Chorus — 1:30] C#m F#m And from pulling you down with me here A I can almost hear you scream [Verse 2 — 1:55] C#m F#m One more medicated, peaceful moment (It's beautiful) C#m F#m Give me one more medicated, peaceful moment C#m F#m And I don't wanna feel this overwhelming hostility A B I don't wanna feel this overwhelming hostility [Guitar Solo — 2:40] C#m F#m C#m F#m A Bm C#m F#m [Chorus 2 — 3:20] A F#m Gotta cut away, clear away C#m B Snip away and sever this C#m F#m Umbilical residue A F#m Gotta cut away, clear away C#m B Snip away and sever this C#m F#m Umbilical residue A B Keeping me from killing you [Outro — 4:15] C#m F#m Snip away and sever this A B C#m Keeping me from killing you
Source: Moises chord analysis from htdemucs_6s stems. Key: A major, 3:39.
Verse: A – C#m (I – iii). Chorus adds E – D (V – IV). Outro: A static.
The album's signature ballad — all four of these chords are in A major's diatonic set.
Key: A major. Scale: A, B, C#, D, E, F#, G#
Verse motion: **A → C#m** (I – iii), a gentle step into the shadow of the tonic. The entire "you don't see me" narrative rides this two-chord space.
[Intro — 0:00] B (then slides into A) (acoustic guitar + mellotron entering) [Verse 1 — 0:20] A C#m Threw you the obvious A C#m And you flew with it on your back A C#m A name in your recollection A C#m Down, among a million same [Chorus — 0:55] A E Difficult not to feel a little bit C#m D Disappointed and passed over A E When I look right through C#m To see you naked but oblivious A C#m And you don't see me [Verse 2 — 1:30] A C#m But I threw you the obvious A C#m Just to see if there's more behind A C#m The eyes of a fallen angel A C#m Eyes of a tragedy [Pre-Chorus — 1:55] A E Here I am, expecting just a little bit C#m D Too much from the wounded A But I see, see through it all E See through, see you [Chorus 2 — 2:20] A E 'Cause I threw you the obvious C#m D To see what occurs behind A The eyes of a fallen angel E C#m Eyes of a tragedy, oh well [Bridge — 2:50] A C#m Oh well, apparently nothing A C#m Apparently nothing at all [Outro — 3:05] A You don't, you don't, you don't see me A C#m You don't, you don't, you don't see me A You don't, you don't, you don't see me A You don't, you don't, you don't see me A C#m You don't see me, you don't A You don't, you don't see me at all (A holds, fades)
Source: Moises chord analysis from htdemucs_6s stems. Key: C# major, 4:08.
Intro: C# static (8 bars, no movement). Verse adds G#m (v minor). Chorus adds F# (IV).
The song is harmonically still — a sleeping beauty whose chord language barely stirs.
Key: C# major. Scale: C#, D#, E#, F#, G#, A#, B#
The intro's eight straight bars of C# major communicate the delusion before the song begins: before any other chord arrives, we've already heard the narrator's fantasy. When G#m finally enters, it's the first crack in that certainty.
[Intro — 0:00] C# C# C# C# C# C# C# C# (sustained C# major — Billy Howerdel's clean guitar) [Verse 1 — 0:50] C# G#m Delusional, I believed I could cure it all for you, dear C# G#m Coax or trick or drive or drag the demons from you C# G#m Make it right for you, sleeping beauty C# F# Truly thought I could magically heal you [Chorus — 1:40] G#m F# You're far beyond a visible sign of your awakening C# F# I'm failing miserably to rescue sleeping beauty [Verse 2 — 2:00] C# G#m Drunk on ego, truly thought I could make it right C# G#m If I kissed you one more time to help you face the nightmare C# G#m But you're far too poisoned for me C# G#m Such a fool to think that I could wake you from your slumber F# That I could actually heal you [Pre-Chorus — 2:50] C# G#m Sleeping beauty, poisoned and hopeless [Chorus 2 — 3:10] G#m F# You're far beyond a visible sign of your awakening C# F# Failing miserably to find a way to comfort you G#m F# Far beyond a visible sign of your awakening B C# Hiding from some poisoned memory [Post-Chorus — 3:45] C# G#m Poisoned and hopeless C# Sleeping beauty (fade on C# major)
Source: Moises chord analysis from htdemucs_6s stems. Key: C# major, 3:29.
Verse: C#m (minor tonic, doubt). Chorus: C# major (Picardy, aspiration) – B – A descend.
The chord chart maps the theological arc: minor = questioning, major = surrendering.
Key: C# major / C# minor (alternating by section).
Verse's C#m gives way to C# major at every chorus — the moment of surrender transforms the key quality. The song literally modulates between doubt (minor) and faith (major) at each section boundary.
[Intro — 0:00] C#m B C#m B (clean guitar arpeggio) [Verse — 0:12] C#m Humble and helpless B And learning to pray C#m Praying for visions B To show me the way [Chorus — 0:48] C# Show me the way to forgive you B Allow me to let it go A Allow me to be forgiven B C# Show me the way to let go C# Show me the way to forgive you B Allow me to let it go A Allow me to be forgiven B C# And then show me the way to let go [Post-Chorus — 1:30] C# Illuminate, illuminate me B And illuminate the way C#m F#m I'm just praying for you A To show me where I'm to begin [Instrumental Break — 1:55] C# B A C#m C# B A C# [Outro — 2:45] C#m Hoping to, hoping to F#m Hoping to, hoping to C#m Hoping to reconnect to you F#m C# Hoping to reconnect to you (C# held — major resolution at the close)
Source: Moises chord analysis from htdemucs_6s stems. Key: A major, 2:24.
Ambient/transitional interlude. Main chord: A static. Late section adds D – Em – Am.
Nearly all instrumental — the lyrics are minimal. Named in reverse for Danny Lohner.
Key: A major (loosely). Scale: A, B, C#, D, E, F#, G#
Short transitional track (2:24). The static A chord for the first 90 seconds mirrors the lyric's claim of knowledge before its collapse: "I will not fall down" asserted over one unchanging harmony.
[Intro — 0:00] A (ambient guitar texture — no pulse, sustained) [Verse — 0:15] A I could know who you are A I could know your mind A Lies A I will not A I will not fall down [Instrumental Break — 0:40] A (Danny Lohner guitar texture — sparse, extended) [Late Section — 1:50] D (shift — first new chord in the track) A Em Am (modal descent toward close) A [Outro — 2:10] A Renhol Ynnad, Renhol Ynnad (A fades — name spoken in reverse)
Source: Moises chord analysis from htdemucs_6s stems. Key: F# (Picardy / F# minor), 4:32.
Verse: F#m – F# (minor/Picardy oscillation). Pre-chorus: E sustained pedal (bVII).
Bridge: "Thinking of you" = E chord held 12 seconds per iteration. Builds throughout.
Key: F# minor / F# major (Picardy pattern).
The E pedal that runs through the entire pre-chorus is the song's defining harmonic feature: F# minor wants to resolve to B (the relative major area), but E keeps redirecting that pull sideways. By the bridge, "Thinking of you" is 12 solid seconds of E per phrase — the obsession chord held until it becomes drone.
[Intro — 0:00] F#m F# F#m F# (half-time pulse, no full chords yet) [Verse — 0:20] F#m Lying all alone and restless F#m Unable to lose this image F#m Sleepless, unable to focus on F# Anything but your surrender [Pre-Chorus — 0:55] E Tugging a rhythm to the vision that's in my head E Tugging a beat to the sight of you lying E So delighted with a new understanding E Something about a little evil that makes that E Unmistakable noise I was hearing E Unmistakable sound that I know so well E Spent and sighing with a look in your eyes E Spent and sweating with a look on your face like [Chorus — 1:30] F# C# Sweet revelation F# Sweet surrender F# Surrender F# Surrender F# Surrender [Pre-Chorus 2 — 1:50] E Tugging a rhythm to the vision that's in my head E Tugging a beat to the sight of you lying E So delighted with a new understanding E Something about a little evil that makes that E Unmistakable noise I was hearing E Unmistakable sound that I know so well E Spent and sighing with a look in your eyes E Spent and sweating with a look on your face like [Chorus 2 — 2:40] F# C# Sweet revelation F# Sweet surrendering F# Sweet revelation F# Sweet [Bridge — 2:55] E F#m Thinking of you, thinking of you, thinking (× 20 — E held 11-12 seconds each iteration, barely moving) E (E drone sustains — the obsession loop) [Outro Chorus — 4:00] F# C# Sweet revelation F# Sweet surrendering F# Sweet revelation (fade on F# major)
Source: Moises chord analysis from htdemucs_6s stems. Key: F# major, 4:07.
Main loop: F# – Bbm (I – iii). Chorus: Bb – F# (III Picardy – I). Outro: F# – Bbm descend.
Named for Maynard James Keenan's ex-wife. Sparse, tender — album's harmonic outlier.
Key: F# major. Scale: F#, G#, A#, B, C#, D#, E#
The loop F# – A#m is the tenderest chord motion on the album: a major tonic that keeps pulling toward its own relative minor. "Heal me, heal me" sits in the space between those two chords — never fully resolved, but never fully lost.
[Intro — 0:00] F# F# F# F# (clean guitar, no bass yet) [Verse 1 — 0:17] F# My reflection A#m Wraps and pulls me under F# Healing waters to be A#m F# Bathed in Breña F# Guide me safely in A#m Worlds I've never been to F# Heal me, heal me A#m F# My dear Breña [Chorus — 0:56] Bb F# Vulnerable, it's alright [Verse 2 — 1:15] F# Heal me, heal me A#m My dear Breña F# Show me lonely and A#m Show me openings F# To lead me closer to you A#m F# My dear Breña [Chorus 2 — 1:55] Bb F# Vulnerable, it's alright [Bridge — 2:15] B F# (instrumental — guitar expands) A#m F# A#m B A# F# [Outro — 3:30] F# Opening to heal A#m Opening to heal F# A#m (repeating — no resolution — fade)
Source: Moises chord analysis from htdemucs_6s stems. Key: C major, 2:00.
Verse: F – Dm (IV – ii). Bridge/outro: C major pedal (21 seconds sustained at close).
Album's closing track — 2 minutes, almost entirely cyclical, landing on C and staying there.
Key: C major. Scale: C, D, E, F, G, A, B
Two minutes. The title is the whole song: the word "over" used as noun, verb, and exhaustion in the same breath. The final C chord held 21 seconds is the album saying goodbye.
[Intro — 0:00] F Dm C (acoustic guitar only, barely audible) [Verse 1 — 0:12] F Been over Dm Been over this before F Been over and over Dm Been over this before [Bridge — 0:45] G Dm C And over F Dm Been over this before [Verse 2 — 1:00] Am So over this Dm Been over this Am So over this Dm Been over this C Over this before [Outro — 1:25] D C (instrumental — sparse chord motion) C D C C (C held — 21 seconds — album closes)