iximusic · 0_fODxyZB8Q

trying to smash his guitar.
Some things never change. I was very
lucky to be able to go to the Peel It
Back tour. I went to the show in Fort
Worth, Texas, and I am even luckier to
have been invited by Josh Freeze. Things
I never thought would happen. And I have
my guest pass right here. Should I wear
it? Maybe like
why not? Badge of honor. If you're
wondering if I got to meet Tren Resnner,
I did not.
[Music]
You would definitely know if I did. I'm
pretty sure it'll happen at some point,
but I did get to meet uh Robin Frink
briefly and I got to chat a little bit
with Allesandre Cortini and he shared a
lot of interesting things about
composition and how he makes music and
I've got to hang out with Josh Freeze
and chat about drums and we went we
talked about the drums for Eraser. It
was really fun. Anyway, this video is
kind of my not a review of the show,
Kitty Drama. I do want to um talk about
some of the things in the show that I
found really cool and compelling and
that surprised me.
Was she mad? So, the show was great.
Trent was jumping around like a teenager
on stage. Everyone gave it their all. It
just sounded fantastic. And the visuals
were super cool. The whole concept of
the two stages actually worked really
well. It helped to sort of separate the
different sta uh say stages different
phases of the show and you know boys
Noise and Nails did these really cool
remixes together which I really liked. I
I loved what they did with Vessel.
really kind of took it to the next level
with a much more um I would say more
like dance focused beat, you know, more
for on the floor,
[Music]
right? And the closer remix was also
really cool. I wasn't sure I was going
to feel about that. I'm pretty attached
to Closer. I'm so attached to Closer
being the way it is that when they
started doing the only time
interpolation during the bridge instead
of the actual bridge of Closer, I would
internally riot. I mean, I know it's
cool and everything, but I just really
missed hearing the actual bridge cuz I
love the bridge in Closer so much. The
synth part that I've uh that I've played
on piano here on Instagram
D.
[Music]
So they took that boy's noise. I'm not
sure what his real name is, but he took
that and he kind of glitched it up a
little bit d little little uh what are
they called? Stutters and little pieces
of it too. At first it's just like
and then you like wallow in the silence
cuz you I mean at least I was like I
know it's closer. It's coming. And the
lighting was really interesting. It was
all very red until this one moment. What
was the song? There's one moment where
they brought in blue light. And it was
it was like you could feel the entire
crowd going to go whoa. Just to have
that new sensory input after it being
all red for a while. That was really
exciting. I felt it too. It was just
like a shock of blue. And then from
there on out that the lights were doing
all sorts of interesting things. The
screen around the main stage was so
cool. I particularly loved the visuals
for Reptile, which is just one of my
favorite songs to hear live in general.
The throbbing bass and huge drums, you
know, just accentuated by the real
drums, you know, he's hitting two drums
every time.
It's just so huge and the lights
flickering with the,
you know, and the green. It's just so
good every time. But yeah, the visuals
were really a whole other level of
awesome because there was like these
layers of gossamer screens but with very
clear projections on them. And after the
sort of Laura Palmer theme
uh ascension in the in the bridge, the
breakdown where David Bowie when David
Bowie did the live version with him,
they started the please don't hurt me
part, right? And it all resolves to this
bizarre interval,
[Music]
right? And the visuals there were like I
don't know. I think I think someone with
tryp is it called trip tryptophobia
trypophobia would be grossed out. It it
felt almost like a open wound in the
ocean or something. It was just so it
was so so amazing. Um, and the visual
the and the visuals uh for copy of the I
mean they're always cool. I mean I saw
the first time I actually saw 9 in hills
was the tension tour. I saw them twice
during that tour and I just remember the
visuals for copy of it were so
incredible. Very strobe light based.
This one though was more, you know,
they're taking a video feed of of Trent
Resner and copying it all over
throughout the screens with all the
layers. Trent would move and then all of
him all of his other ones and they would
all like slowly one by one drop down all
the different Trents all the copies and
it was it was fun and it was fun seeing
him like kind of doing almost like a
like a dance performance art to to make
the visuals look cool. It was fun. And I
would say in terms of set list, it was
like mostly bangers.
Just really high energy stuff one after
the other. I was so surprised. Like I
was not ready for all that. And they
played Mr. Self-destruct, which I was
definitely not expecting when I heard
the first
um I was taking a video and you can hear
me go, "No way. No way." like a total
dork. I couldn't believe it though. And
uh but what I really want to talk about
and nerd out about musically is what
Trent Resner did with
Right Where It Belongs, Ruiner, and
Somewhat Damaged. The one I remember the
most is Ruiner because he was playing
everything. This is so so nerdy, but I
know you're going to love it cuz
otherwise you wouldn't be on my channel.
So, I loved what he did with Ruiner
because when I did my piano cover, I
took his very sort of sparse
uh synth line, which is kind of implying
chords, but not really giving them to
you. It was like the
It goes like
[Music]
those.
So, it's implying with the bottom note
an A chord, an F chord, and a D chord.
And when I did my piano cover, I made it
a lot more fleshed out because that's
something I like to do. But I had to
make some assumptions about if those
were actually chords and not just the
roots of chords, what chords would they
be? And I chose the chords that fit into
the A minor key because that's how I
heard it. But it was at the very
beginning of my studies of Nishnails. So
I didn't realize yet just how into major
chords he was and putting them all
together in a sort of a modal
interchange way. So maybe if I analyze
the song now I would have had a
different assumption. But back then I
went
[Music]
it's much more hopeless and traditional
sounding. It's not really that trendy
sounding, is it? Which is fine. I mean,
I was doing an an interpolation, but
what he did live, I recorded it so I
wouldn't forget.
[Music]
See the way.
[Music]
Okay. So, he's so he's singing way down
here, which I can't do, but he's playing
he's got his he's got his bass notes
probably playing between octaves.
It could be that low. I'm not sure. up
here though he's playing
this. So this is an add nine chord and
he does a little roll. It's a little
schmaltzy. So he's like
and then um
and then he does it with the next chord
and then does it with the next chord and
then does a little neighbor tone
every time. It's so pretty.
[Music]
Isn't that nice? So, here's what that
tells me as a nerdy ass composer. To
him, all these chords are major. They
have modal interchange and they have
bluesy conflicts. It's completely
different sound than what I did. Right?
So, in comparison, what I did, you have
all had all of them on your side. Did
you
what he did?
All your lies.
Sorry.
Doesn't sound very good down low. See,
he did a good arrangement choice. He put
his crunchy ass chords up here where
they sound less like they're colliding.
So, also he's singing down here, so he
left room for himself. That was just
sort of like, oh my god, the true nature
of Ruiner has now come through thanks to
him peeling back his composition and
showing us what it really is are.
Now
you know I can say what you really are.
And then he took sorry Pax and then he
took the uh then the chorus is
completely reharmonized. Right? So in
the original there's no chore
progression there. If I were to play
this on piano, it's like
right fantastic.
[Music]
How' you get so big?
How' you get so strong?
Instead, it's these major tenths, which
I've come to recognize as a very Trent
thing to do. And I wonder if Mike Garson
rubbed off on him at all. Possibly,
maybe not. It could just be a
coincidence. But Mike Carson with the
Those are a bunch of tenths, too.
Anyway, so he goes maybe it's like that.
Of course, he's singing. He's hanging
way down here.
Nice. Right. So, this is a whole new
interpretation. And it still sounds like
ruiner, but it's different for sure. I
mean, this flat three thing is a is a
thing he likes to do. This minor third
bass movement a lot. It's very nish. And
then all tenths major. It's very the 10
the major tenth implies a major chord as
well. A tenth is an exploded third. So
if I collapsed this, it'd be like,
and if I made them all into
all majors, but you can just imply that
and then you can spread it out. It's
really sounds amazing, especially on a
piano. But honestly, I've never heard a
tenth I didn't like. So, do tenths.
Tenths are good. So, that was exciting
and fun to hear it a little bit of a
different way. And this made it sound so
much sleazier
because it's so bluesy.
[Music]
So big.
How' you get so strong?
[Music]
Woo!
[Music]
And now this sort of hurtesque
room noise that that sort of hollow
sound comes in.
[Music]
Did you
have to
[Music]
mine
your course?
Now,
[Music]
>> didn't you
maybe that hurt me more?
[Music]
[Applause]
[Music]
[Applause]
>> So, I love how he took some of the
lyrics from that pre chorus. You know,
the ruinar has got a lot to prove. It's
got nothing just a couple and put them
into a verse essentially, right? Same
verse chord progression that he had and
uh verse rhythm and ending it with
didn't you. I thought that was really
creative. Then
see tense. So it is up there.
[Music]
strong.
[Music]
>> Sorry to
my perfect greenhouse.
You know, I can say
what you
kind of riffing on the new chord
progression.
[Music]
I don't remember this part at all. I was
probably like, I can't believe he did
nine cards.
Then they went into piggy.
He's singing the uh he's doing this
over, you know, you didn't hurt me.
Nothing.
He's doing that kind of over this and
then it goes right into Piggy and it's a
different version. Now, the main thing I
noticed about this version of Piggy is
it doesn't have the swing. Piggy has
swick
and swing makes things feel more casual.
It's something about Piggy I've always
been sort of a little bit mystified
about honestly. It's like, you know, but
I'm also now attached to it because
that's the way it is. But this is
straight.
[Applause]
[Music]
Sorry, I know it's horrible listening to
this quality. The other thing they did
on the peeled backstage which was cool
was the very very beginning which was
Right Where It Belongs into Somewhat
Damaged. And if you've heard Right Where
It Belongs version two, it's an even
more sparse version of the song. You
know, it doesn't have the
Right. It doesn't have that
[Music]
general kind of sparseness, but he made
it even more sparse to sing over it. So
he was just sort of like
[Music]
animal
that you build
[Music]
something like that. I'm not sure I have
it actually. Let me see.
[Music]
[Applause]
>> That's all I recorded. Let me see if
someone else has a video of it. This is
from Toronto.
[Applause]
[Music]
just a single D
[Music]
side of the glass
you want.
See the safy of the land.
Everything where it belongs.
Feel the whess
inside your heart.
And it's all
[Music]
[Applause]
[Music]
[Applause]
[Music]
So yeah, it's like even simpler. He he
has he just starts with a D. So this
just shows you this is why knowing where
that tonal center of a song is can be
helpful because if you just pulse or
drone on that note, you can sing an
entire song over it. It won't have
harmonic movement. It might have implied
harmonic movement, but it could be just
enough. So he just starts that way. He
even doesn't do the C at first, I think.
D
and then the second time.
Then he's going to follow the what
normally the bass does, but he keeps in
this mid-range in the right hand.
Normally it goes to a C in the bass, but
he just kind of keeps it here. And then
he hits this and he hits the D in the
bottom. Um, but he's sort of he's not
doing the whole baseline from the
original, which is
he doesn't hit the F. Uh, he just keeps
it here. And he doesn't even do it in
the left hand, but he does it here. And
then he does a little interpolation of
the
He just kind of goes like,
sorry, it did sort of like a or maybe it
was like
No, I think it had this note in it.
Something, you know, something just sort
of remind you of that line that goes up.
Different rhythm though. Um,
>> now he's pulsome with the left.
>> Now he's going down. Finally.
[Music]
This is a very trendy thing to do and
it's a great tip. Uh he'll he'll use uh
octaves
in the p uh piano a lot. Um piano sounds
amazing in octaves anywhere, but it
sounds especially amazing in this low
register. So he'll sometimes do like a
dip down go
right sounds amazing. But notice how he
did it a little late. And this is I'm
sure improvised. This is like probably
not something he rehearsed these exact
moments when he does the dip down. These
are just things that you like learn to
do almost like strumming when you're
you're strumming a guitar. You know, you
you might do a little bit different
every time. You little tiny changes.
This is the same kind of thing. It's the
>> right after the down beat. It's nice.
[Music]
>> There's those major tense again.
You can live in this.
[Music]
You can choose to believe.
[Music]
Keep on looking, but you can't find the
words
while I hide in the dream.
So that's mainly that's mainly what he's
doing is he's playing the roots of the
chords, which is these notes,
not this one. He's leaving that one out.
Um, and he is mostly just following in
octaves with the right hand. And maybe
here he hits a hits the third of the
chord here, right? But it just goes to
show you that with a good song, you kind
of just need the bass and the vocals and
you have the song.
[Music]
you
know.
[Music]
>> Now, in my opinion, he's improvising in
his right hand. He keeps his left hand
on the roots.
[Music]
Sorry, I forgot to play it. Oh my god.
Okay. He keeps his left hand on the
roots
[Music]
and the right hand he's just like,
you know, and doing little things with
those, right? every so often just to
kind of but mainly is just playing those
roots and that's all you really need.
Sorry,
sorry, I can't remember the first note.
G. So, um, yeah, it's just really lovely
and the song speaks for itself.
[Music]
[Applause]
[Music]
Now somewhat damaged.
[Music]
>> Okay. So now he actually took he took
the original baseline from where it
belongs and gave us that punch line so
to speak which is this low note from the
verse and he's singing the uh what part
of somewhat damaged is this
[Applause]
[Music]
>> nice fake out there. He tried to give
you like make it sound like he's about
to explode, you know, by myself.
[Music]
[Applause]
>> Where were you
brings back down?
>> So, uh, why does this work? Why does it
work to sing somewhat damaged over this
chord progression?
um
his 23rd
resolving. So, the perfect drug now that
they started playing it every, you know,
every tour is becoming such a a bright
spot. You know, everyone's looking
forward to seeing the drummer nail the
perfect drug. And of course, Josh Freeze
is a monster, so I had no doubts it
sounded incredible.
um loved the flare he put on things. You
know, every drummer's got their own
sound and I just it felt like he was
really having fun playing around in that
space.
>> All right, Josh.
All right, Josh.
Heat.
[Music]
Huh?
Heat.
That's how you do it.
>> Without you,
without you, everything falls apart.
>> Fantastic. And the ending of the perfect
drug is so beautiful. I almost always
forget how gorgeous it is. And then I'm
just like, my god, this is insane. And
hearing Robin play that beautiful guitar
line, those uh those arpeggios
uh live was so awesome. I've seen The
Perfect Drug now. This is the third time
I've seen it, but I still was just like,
"Oh my god." Oh, I'm sorry, Bax, you are
kind of in the way. So,
they played heresy. But yeah, so many
like four on the floor bangers in this
one. It was It was overwhelming. And I
was thinking about Josh the whole time.
I was like, "Oh my god." I mean, but he
had a big break in between, you know,
the with the B stage. He wasn't on the B
stage, but still, they just put him to
work. They also played I'm afraid of
Americans, and that was really good. I
uh thought that Josh did such a good job
with that one. He just was like
improvising and just having fun and
great stuff. It was just Yeah, like if
you're into drums, this was just a
fantastic performance. I mean, everyone
did a great job. It was really fun. Now,
I have listened to the new song, right?
Uh, as alive as You Need Me to Be a few
times, but I got to say live it was
good. I was like I was I was dancing
like I couldn't stop myself. I was like,
"Damn, this is a banger banger banger
banger." It was so good. And I really
loved uh what Boys Noise did, you know,
kind of producing that song. And, you
know, it was just it was great. It was
really, really great. So, now I'm a fan.
I want to thank everyone that came up to
me during the show and getting to meet
you and hug you against your will was
great. Uh let me know what you think in
the comments below.
All right, y'all have a great rest of
your day. Here's an internet high five
and I'll see you next time.