This page is A Perfect Circle — Thirteenth Step — 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.
Chords derived from Moises stem analysis (FROMAUDIO pass — Moises htdemucs_6s stems; vocals excluded from chord detection; alignment is timestamp-approximate). Track 02 stems truncated at ~3:15 (full song 5:20) — final chorus/outro chords inferred. Track 03+ stems are full-length. Songsterr MIDI pass pending. · Built 2026-06-12 14:06
Source: Moises chord analysis from htdemucs_6s stems at `IF YOU CAN'T FIND SOMETHING ITS HERE/Moises_Input/stems/htdemucs_6s/13th step apc/02 - Weak And Powerless/`.
Key center: C# minor (Krumhansl). Chord analysis via Moises segment detection + stems.
**Note: Stems are truncated at 3:15 of 5:20.** Chord data covers intro through second chorus and start of bridge only. Final chorus and outro require full-length stems or Songsterr MIDI.
Alignment is timestamp-approximate (±0.5s). Vocals excluded from chord detection.
Tuning: Standard. The arpeggiated intro riff sounds on the open low F# — verify by ear.
Key center: C# minor. Main scale degrees in play:
The song avoids the tonic C#m in the intro entirely. The intro riff oscillates F# / F#m — the major and minor forms of the subdominant — before landing on A (bVI) as a de-facto resting chord. The first clear C#m arrival is in verse 1.
[Intro — 0:00] F# F#m A (rolling guitar arpeggio riff, 12 bars) [Verse 1 — 0:18] C#m Tilling my own grave to keep me level A Jam another dragon down the hole C#m Digging to the rhythm and the echo of a solitary siren B One that pushes me along and leaves me so [Chorus 1 — 0:43] F# C# Desperate and ravenous B G#m I'm so weak and powerless A Over you [Verse 2 — 1:10] C#m Someone feed the monkey while I A Dig in search of China C#m B White as Dracula as I approach the bottom [Chorus 2 — 1:35] F# C# Desperate and ravenous B G#m I'm so weak and powerless A Over you [Bridge — 2:00] B E Little angel go away C#m G#m Come again some other day B E The devil has my ear today C#m B I'll never hear a word you say E B He promised I would find a little solace E B And some piece of mind E Whatever just as long as I don't feel so [Final Chorus — 2:30 — beyond stem coverage; chords inferred from chorus repeat pattern] F# C# Desperate and ravenous B G#m I'm so weak and powerless F# C# Desperate and ravenous B G#m I'm so weak and powerless A Over you [Outro — ~3:00] F#m A Over you
Source: Moises chord analysis from htdemucs_6s stems at `13th step apc/03 - The Noose/`.
Key center: D# minor (Eb minor enharmonically). Duration: 4:53. Tempo: 89.1 BPM.
Stems are FULL LENGTH — this is complete chord data, not truncated.
Alignment is timestamp-approximate (±1s at 89 BPM). Vocals excluded from chord detection.
Key: D# minor (Aeolian). Scale: D#, E#(F), F#, G#, A#, B, C#
The song is nearly static harmonically — D#m dominates entire verses at 89 BPM. The Picardy third (D# major) on "curious" is the most striking harmonic move, turning the tonic minor into major for one lyric phrase before returning to D#m.
[Intro — 0:00] D#m (clean arpeggiated guitar figure, 12 bars) [Verse 1 — 0:35] D#m So glad to see you well D#m Overcome and completely silent now G# With heavens help you cast your demons out D#m And not to pull your halo down D#m Around your neck and tug you off your cloud D# But I'm more than just a little curious D#m How you're planning to go about making your amends D#m To the dead To the dead [Verse 2 — 2:00] D#m Recall the deeds as if they're all D#m Someone else's atrocious stories D#m Now you stand reborn before us all G# So glad to see you well [Bridge — 2:30] G#m And not to pull your halo down G# Around your neck and tug you to the ground F# But I'm more than just a little curious D# How you're planning to go about making your amends D#m To the dead To the dead [Final section — 3:20] F# C# With your halo slipping down F# Your halo slipping C# F# Your halo slipping down D# F# Your halo slipping down [Coda — 3:50] F# C# (With your halo slipping down) but I'm more than just a little curious F# C# (With your halo slipping down) how you're planning to go about making your F# D# (With your halo slipping down) more than just a little curious F# D# (With your halo slipping down) how you're planning to go about making your F# C# (With your halo slipping down) more than just a little curious G# D# Your halo slipping down D# To choke you now
Source: Moises chord analysis from htdemucs_6s stems at `13th step apc/04 - Blue/`.
Key center: E minor (all three detection methods agree). Duration: 4:12. Tempo: ~110 BPM.
Stems appear full-length. Alignment is timestamp-approximate (±1s). Vocals excluded from chord detection.
Key: E natural minor. Scale: E, F#, G, A, B, C, D
The song has three harmonic worlds that cycle: (1) a near-static Em/E Picardy oscillation for verses — the "blindness" zone where the narrator refuses to know; (2) a C-Am two-chord loop for the pre-chorus — the first admission of color; (3) an E-Dm-G chorus — Picardy brightness followed by a borrowed Dm drop and G lift, which creates an affect of confronting what was denied. The 14-second E major pedal at 3:22 and the final G#m territory at 3:47 suggest the narrator has moved fully into E major — the tonal transformation matching the lyric confrontation.
[Intro — 0:00] Em E (clean guitar arpeggio oscillation, 12 bars) [Verse 1 — 0:22] Em I didn't want to know Em I just didn't want to know C Am Best to keep things in the shallow end C Am 'Cause I never quite learned how to swim [Pre-verse riff — 0:32] Em E (guitar figure returns) [Verse 1b — 0:38] Em I just didn't want to know Em Didn't want Em Didn't want Em Didn't want Em Didn't want [Pre-Chorus — 0:49] C Close my eyes just to look at you Am Taken by the seamless vision C I close my eyes Am Ignore the smoke C Ignore the smoke Am Ignore the smoke [Chorus — 1:13] E Dm Call it aftermath, she's turning blue G Such a lovely color for you E Dm Call it aftermath, she's turning blue A Am While I just sit and stare at you [Post-chorus — 1:47] Em Because I don't want to know [Verse 2 — 1:52] Em I didn't want to know Em I just didn't want to know Em I just didn't want [Pre-Chorus 2 — 2:04] C Am Mistook their nods for an approval C Just ignore the smoke and smile [Chorus 2 — 2:15] E Dm Call it aftermath, she's turning blue G Such a lovely color for you E Dm Call it aftermath, she's turning blue G Such a perfect color for your eyes E Dm Call it aftermath, she's turning blue G Such a lovely color for you E Dm Call it aftermath, she's turning blue A Am While I just sit and stare at you [Coda — 2:58] A C (instrumental build, sustain) [Final pedal — 3:22] E (E major held 14 seconds — tonal shift to major) E I don't want to know [Outro — 3:47] G#m C#m A#m (chords of E major scale, final fade)
Source: Moises chord analysis from htdemucs_6s stems at `13th step apc/05 - Vanishing/`.
Key center: G# minor (Krumhansl; Aarden/Temperley read E major = relative major of C# minor — Krumhansl preferred for tonic gravity).
Duration: 4:51. Full-length stems confirmed.
Alignment is timestamp-approximate (±1-2s at slow, ambient tempo). Vocals excluded from chord detection.
Key: G# minor (Aeolian). Scale: G#, A#, B, C#, D#, E, F#
The song is intentionally sparse. The verse barely moves off G#m. The chorus resolves into a three-chord loop (G#m → E → B → F# or permutations) that recurs as the song's only forward motion. The 13-second G# major pedal at 2:59 is the sonic peak — the Picardy tonic held on "floating away" before the outro begins dissolving into C#m/F#/G#m fragments.
[Intro — 0:00] G#m (atmospheric, near-static; 60 bars) [Verse 1 — 1:00] G#m Disappear G#m Disappear E Higher B Higher F# Into the air G#m Slowly disappear G#m No, no longer here [Verse 2 — 1:25] G#m Disappear G#m Disappear E Thinner, thinner B Into the air [Bridge 1 — 1:35] G#m Never really here G#m Wasn't ever [Bridge 2 — 1:50] E B Like a thought F# Brushing up against a sigh [Chorus — 2:00] G#m E Floating away B F# Floating away [Verse 3 — 2:15] G#m E Vanishing like a cyan Sunday G#m Disappear G#m Disappear B F# Vanish, vanish into the air G#m Slowly disappear E Never really here [Float pedal — 2:59] G# (G# major held 13 seconds) [Outro — 3:18] G#m E B F# Floating away C#m F# G#m Floating away C#m F# G#m (repeat, fade)
Source: Moises chord analysis from htdemucs_6s stems at `13th step apc/06 - A Stranger/`.
Key center: F# minor (all three methods agree). Duration: 3:02 (album: 3:09 — last ~7s not in stems).
Alignment is timestamp-approximate (±1s). Vocals excluded from chord detection.
Key: F# minor (Aeolian). Scale: F#, G#, A, B, C#, D, E
The song uses extreme harmonic restraint. Verses sit on F#m / F# for minutes at a time, with A providing the only color. The bridge introduces D#m (a chromatic borrowing — not in the natural minor scale) alongside C#m. The outro arrives with E-B-C#m, the first real chord movement in the song — matching the lyric's shift from passive observation to direct confrontation.
[Intro — 0:00] F#m F# (sustained, minimal guitar figure — 35 bars) [Verse 1 — 0:35] F#m Cast the calming apple F# Up and over satellites F#m A To draw out the timid wild one F#m F# To convince you it's alright [Verse 2 — 1:00] F#m And I listen for the whisper F# Of your sweet insanity F#m A While I formulate denials F#m Of your effect on me [Chorus — 1:35] F#m A You're a stranger F#m So what do I care? A You vanish today F#m B Not the first time I hear F# All the lies [Bridge — 2:08] F#m What am I to do with all this silence? D#m C#m (instrumental rise) B (pause) [Outro — 2:28] E B Shy away, shy away phantom C#m Run away, terrified child E B Won't you move away, you fuckin' tornado E B I'm better off without you C#m Tearing my will down A (sustain, fade)
Source: Moises chord analysis from htdemucs_6s stems at `13th step apc/07 - The Outsider/`.
Key center: C# major (all three detection methods agree). Duration: 4:01. Full-length stems confirmed.
Alignment is timestamp-approximate (±1s). Vocals excluded from chord detection.
Key: C# major (with borrowed flat-side chords from C# natural minor).
Primary loop: **C# → B → A** (I - bVII - bVI). This is the reverse Andalusian descent — one of rock's most common power progressions, heard in countless AOR/alt-metal anthems. The verses break the tonic with C#m (parallel minor) to maintain tension. The final chorus adds E (bIII) before B-A, turning the loop into a four-chord descent that lands heavier.
[Intro — 0:00] C# (sustained single-chord pedal, 30 bars) [Verse 1 — 0:30] C#m Help me if you can C# It's just that this is C#m A Not the way I'm wired F# C# So could you please C#m Help me understand why C# You've given in to all these C#m A Reckless dark desires you're F# Lying to yourself again [Bridge — 0:56] C# Suicidal imbecile B You're pounding on a fault line A What'll it take to get it through to you precious C# Over this, why do you B Wanna throw it away like this A Such a mess, well I don't wanna watch you [Chorus — 1:13] C# B Disconnect and self destruct one A Bullet at a time C# B What's your rush now, everyone will have his day to die [Verse 2 — 1:35] C#m A Medicated, drama queen F# Picture perfect, numb belligerence C#m A Narcissistic, drama queen F# Craving fame and all it's decadence [Bridge 2 — 1:55] C#m Lying through your teeth again C# Suicidal imbecile A You're pounding on a fault line F# What'll it take to get it through to you precious [Chorus 2 — 2:01] C# Disconnect and self destruct one B Bullet at a time A What's your rush now, everyone will have his day to die [Post-chorus — 2:18] C# They were right about you (long sustain, 40 bars) [Bridge 3 — 2:58] C# E Lying to my face again B A Suicidal imbecile C# E You're pounding on a fault line B A What'll it take to get it through to you precious [Final Chorus — 3:17] C# E Disconnect and self destruct B One bullet at a time A What's your hurry, everyone will have his day to die C# E If you choose to pull the trigger, should your drama prove sincere B A Do it somewhere far away from here F# (fade)
Source: Moises chord analysis from htdemucs_6s stems at `13th step apc/08 - Crimes/`.
Key center: E major (all three detection methods agree — though the actual harmonic content is highly chromatic).
Duration: 2:34 (album: 2:37 — last 3s not in stems). Transition/interlude track.
Alignment is timestamp-approximate (±1s). Vocals excluded from chord detection.
"Crimes" is a counting interlude. The only lyrics are spoken numbers: "One / Two / Three / Four / Five / Six / Seven / Eight / Nine Nine Nine Nine / Ten Ten Ten Ten." The musical content is an atmospheric, chromatically shifting texture rather than a verse-chorus structure.
Key center: E (Picardy/parallel duality — E and Em alternate throughout).
No stable repeating loop — the texture shifts continuously. The Picardy major/minor alternation (E / Em) is the only consistent pattern, serving as the track's only tonal anchor.
[Intro — 0:00] E (7-second E major pedal before the first movement) [Section A — 0:07] Em C#m One E Em Two C#m E Three [Section B — 0:26] G# Em Four C# C# Five C#m E Six [Section C — 0:42] G#m G Seven C# E Eight [Section D — 0:55] E C# Nine G C# Nine E G Nine C#m E Nine [Section E — 1:28] C# F#m Ten C# A Ten F# D Ten C#m C# Ten [Outro — 1:55] E (instrumental fade, chromatic) F Am (chromatic passing color) D F# (movement toward close) E G#m E (final resolution)
Source: Moises chord analysis from htdemucs_6s stems at `13th step apc/09 - The Nurse Who Loved Me/`.
Key center: C# major (all three detection methods agree). Duration: 3:56 (album: 4:07 — last ~11s missing from stems).
Alignment is timestamp-approximate (±1s). Vocals excluded from chord detection.
Key: C# major. Scale: C#, D#, E#(F), F#, G#, A#, B#(C)
**Main verse loop:** C# → G# → F# (I - V - IV, repeated for most of the song).
**Chorus expansion:** C# → D# → C# → F# → C# → B → F# → G# (the D# and B distinguish every chorus from the verses).
This is APC's most harmonically stable track on the album — an almost hypnotic I-V-IV vamp that never truly resolves. The song originally appeared by a Perfect Circle but was first recorded by the band Failure in a different arrangement.
[Intro — 0:00] C# G# F# (instrumental, unusual chord color opening — Gm and G# passing tones) [Verse 1 — 0:37] C# G# Say hello to the rugs topography F# It holds quite a lot of interest with your face down on it C# G# Say hello to the shrinking in your head F# You can't see it but you'll know it's there so don't neglect it [Chorus — 1:00] C# D# C# I'm taking her home with me F# All dressed in white C# D# C# She's got everything I need F# Pharmacy keys C# D# She's fallen hard for me C# I can see it in her eyes B F# G# She acts just like a nurse C# With all the other guys [Verse 2 — 1:56] C# G# Say hello to all the apples on the ground F#m They were once in your eyes but you sneezed them out while sleeping C# G# Say hello to everything you've left behind F#m It's even more a part of your life now that you can't touch it [Chorus 2 — 2:25] C# D# C# I'm taking her home with me F# All dressed in white C# D# C# She's got everything I need F# A Some pills in a little cup C# D# She's fallen hard for me C# I can see it in her eyes B F# G# She acts just like a nurse C# With all the other guys [Bridge / final chorus — 3:00] C# F# A She's got everything I need G# C# Pharmacy keys B F# G# She acts just like a nurse C# With all the other guys [Outro — 3:47] C# Say hello to the rugs topography C# (C# major pedal, sustain to fade)
Source: Moises chord analysis from htdemucs_6s stems at `13th step apc/10 - Pet/`.
Key center: D# minor (Eb minor enharmonically; detection methods disagree — Krumhansl reads G# minor, others read Eb). D# (tonic) is the most-played chord by far.
Duration: 4:34. Stems appear full-length. Alignment is timestamp-approximate (±1s). Vocals excluded from chord detection.
Key: D# minor (Aeolian). Scale: D#, E#(F), F#, G#, A#, B, C#
The song's harmonic language is extreme minimalism: D# and C# (a whole step apart) hold the entire first two-thirds with almost nothing else. The "Counting bodies like sheep" chorus uses the same two chords. Only in the bridge and outro does the music move: C#m and A#m arrive in the breakdown, then D# - F# - G# cycling closes the song with the first real sense of forward harmonic motion.
[Intro — 0:00] D# (slow intro, Picardy pedal with D#m and C# passing) [Verse 1 — 0:30] D# Don't fret precious I'm here C# Step away from the window D# Go back to sleep [Verse 1b — 0:50] D# C# Lay your head down child D# I won't let the boogeyman come [Chorus — 1:00] D# C# Counting bodies like sheep D# To the rhythm of the war drums C# Pay no mind to the rabble D# Pay no mind to the rabble C# Head down, go to sleep D# To the rhythm of the war drums [Bridge — 1:25] C# Pay no mind what other voices say D# They don't care about you C# D# Like I do C#m D# Safe from pain and truth and choice and other poison devils C#m See they don't give a fuck about you B Like I do [Breakdown — 1:46] D#m B Just stay with me C#m Safe and ignorant D#m Go back to sleep B Go back to sleep [Verse 2 — 2:07] D# C# Lay your head down child D# I won't let the boogeyman come C# Count the bodies like sheep D# To the rhythm of the war drums [Chorus 2 — 2:25] D# C# Pay no mind to the rabble D# Pay no mind to the rabble C# Head down, go to sleep D# To the rhythm of the war drums [Bridge 2 — 2:40] D#m A#m I'll be the one to protect you from B Your enemies and all your demons D#m A#m I'll be the one to protect you from B A will to survive and a voice of reason D#m A#m I'll be the one to protect you from B Your enemies and your choices son C# One and the same I must isolate you D#m Isolate and save you from yourself [Final Chorus — 3:45] D# F# G# Swaying to the rhythm of the new world order and D# Count the bodies like sheep F# G# To the rhythm of the war drum D# The boogeymen are coming F# G# The boogeymen are coming D# Keep your head down go to sleep F# G# To the rhythm of the war drums [Outro — 4:15] D# C# Stay with me D# Safe and ignorant C# Just stay with me D# C# Hold you and protect you from the other ones D# The evil ones C# Don't love you son D# Go back to sleep
Source: Moises chord analysis from htdemucs_6s stems at `13th step apc/11 - Lullaby/`.
Key center: Ab major (G# major enharmonically) per detection. Duration: 1:56. Interlude/transition track.
Note: chord detection is unreliable on this track — the Cm/C#m alternation throughout reflects stem noise rather than real harmonic motion. This is a whispered vocal coda, not a chord-based song.
"Lullaby" is a 1:56 whispered coda that reprises the "go back to sleep" lyric from Track 10 "Pet." The Moises chord detector produces Cm and C#m alternating in near-chromatic semitone steps — this is detection artifact from the whispered vocal + ambient guitar tone, not a real two-chord progression.
The harmonic content is essentially monotone: one ambient pitch center (Ab/G#), no chord changes. The "Cm / C#m" outputs reflect the detector's uncertainty about a near-static drone.
[Full track — 0:00] (Cm / C#m ambient drone — whispered coda) Go back to sleep Go back to sleep (whispered) [Outro — 1:20] G# C# (fade)
Source: Moises chord analysis from htdemucs_6s stems at `13th step apc/12 - Gravity/`.
Key center: C# minor (detection methods disagree — Krumhansl reads C# minor; relative-major bias possible).
Duration: 5:06. Full-length stems confirmed (album: 5:08).
Alignment is timestamp-approximate (±1s). Vocals excluded from chord detection.
Key: C# minor (Aeolian). Scale: C#, D#, E, F#, G#, A, B
This is the album's closing statement — the most harmonically developed track. The verse uses C# Picardy / C#m oscillation like many earlier tracks, but the chorus introduces a genuine three-chord loop (C# - B - E or C#m - B - E), and the bridge (3:05+) opens into a full four-chord sequence: **C#m - A - E - F#m - B** — the richest harmonic material on the album. The final F# / F#m / A / E outro dissolves the tonal center entirely.
[Intro — 0:00] G#m (6-second minor dominant pedal — the song opens in tension, not tonic) C# C#m (slow Picardy oscillation begins) [Verse 1 — 0:50] C# C#m Lost again C# Broken and weary C#m Unable to find my way C# Tail in hand E Dizzy and clearly unable to B F# Just let this go [Chorus — 1:15] C# I am surrendering to the gravity and the unknown F# Catch me, heal me, lift me back up to the sun C# I choose to live [Verse 2 — 1:56] C#m E I fell again B Like a baby unable to stand on my own F#m Tail in hand C#m Dizzy and clearly unable to just let this go [Chorus 2 — 2:25] C#m B High and surrendering to the gravity and the unknown E B Catch me, heal me, lift me back up to the sun F#m C#m I choose to live, I choose to live, I choose to live B E Catch me, heal me, lift me back up to the sun B Help me survive the bottom [Bridge — 3:05] C#m A Calm these hands before they E F#m Snare another pill and B C#m Drive another nail down another needy hole A Please release me [Final Chorus — 3:50] C#m I am surrendering to the gravity and the unknown C# B Catch me, heal me, lift me back up to the sun E I choose to live, C#m I choose to live [Outro — 4:25] F# F#m (dissolving) A E (fade) F# F#m (final fade to silence)