iximusic · NWBdib7cvs8

I got to see 10 Years play their debut
album, The Autumn Effect, in full. Oh my
god.
I have loved this album for almost 20
years now. I saw them play at Family
Values 2006 in Columbus, Ohio. I think
he's one of the most beautiful,
introspective, haunting albums ever. Um,
if you like Tulle and a Perfect Circle,
Chavevel, I really think that you're
going to love this band. Um, they also
are influenced by 9inish Nails and Radio
Head and, you know, all the stuff that
we love on my channel. So, I am
resurrecting a video of mine that I made
in 2021 going through this entire album
in excruciating detail, but it got
blocked by YouTube right away. So, the
following video is an edited down
version of that. And I got to meet the
band and I got to hang out with them and
talk about music for like 2 hours. They
could not be nicer and they could not be
more talented. It was such a wonderful
experience. And the show was incredible.
I mean, we were just sitting there
talking about music, like chill a chill.
And then they got on stage and they were
like fucking rock stars. Oh my gosh.
Pristine vocal harmonies live. Such a
rare thing.
Anyway,
they're on tour right now. I really,
really hope that you go see them. They
have eight more shows left at the time
of recording this. Okay, without further
ado, my analysis. Take it away,
Pasticsy. The album we're going to
listen to tonight is called The Autumn
Effect. I'm very, very excited to share
this music with all of you. So, this
first track is
Waking Up.
Distance and space
allow emotions to rage
into fade.
laying double alone
but close.
Are you there?
Can you hear me?
Are you there?
Can you feel me?
One day
no far away.
Are you there?
Can you hear me?
Are you there?
Can you feel me?
Waking up good morning to you. My life
waking up
my ass.
Oh, so many things I love about this
track.
I think this is such a beautiful song.
Just this riff alone is so beautiful.
I'll play it up an octave higher so you
can hear it a little bit better. Is um
so pretty.
So G# sharp minor. So it's got that dark
sound, right? It's just very um
now you guys have probably heard me
talking about the second degree a lot.
Um so in a minor key it's the note right
above our tonal center and it sounds
especially sad I think in minor songs
because it's only a half step away from
the minor third. So there's just this
like
this inevitable sound like it wants to
resolve and then
huh
um the drum g okay listen to this drum
groove. So the drummer
you know we've heard a lot of different
68 grooves in um Meridan
and in 13th step. This one's a little
different. And so the drummer is doing
these super I mean they're pretty fast
um I would say 16th notes on the high
hats maybe they're 30 seconds honestly
and then he's hitting the snare and it's
very slow
but his kick drum he's hitting on every
eighth note. So he's going.
So all this is equaling just kind of a
different sounding groove than I think
we usually hear in this genre.
I mean it sounds like really tasty power
chords, but it's kind of doing this.
There's that second again.
I think it's a flat six. All right. How
many of you have watched my series on
the flat six chord and know what I mean?
So, here's the flat 6
and the flat 7 is also awesome.
Beautiful. He's just singing beautiful
minor melodies.
I love when he ends on the second there.
Then there's a little kind of precourse
almost where it goes, our bies or our
bies may end up alone
but close our octave jump. our boys
may end up alone.
Okay, so this is definitely something
that I'm hearing in um Defton music,
perfect circle tool, all these vocalists
like to end leave their phrases off on
tense notes. It's just beautiful
just delaying the resolution close.
but close.
Are you there?
Can you hear me?
Are you there?
Can you feel me? Okay, that's cool. So,
his whole the whole verse, both in the
guitars and the voice, there's no flat
six. No flat six at all. Not Not at all.
So that's just so powerful when it hits
because flat six is the best. I also
love this part. Um, waking up. This is
like one of my favorite parts is waking
up. Good morning to you, my dear. I'm
waking up. Enduring my biggest fears. I
don't know. This always just made me
feel good.
>> Oh shit, I forgot. There's one more
thing before I get to that part that I
wanted to point out. um is that this
beautiful guitar melody that we were
hearing before um
they harmonize with it with another
guitar it sounds like and I think it's
either a fourth or a fifth higher which
is just weird that's so cool see if I
can find it
>> allow emotions to
fade
D.
Then we get to the waking up part. Some
really pretty vocal harmonies. I don't
want you to miss out.
>> Are you there?
Can you feel me?
Waking up. Good morning to you.
waking up
my
fears.
>> And then he also, so this vocalist also
does a little bit of the Maynard thing
where he kind of precedes um a syllable
with an actual note. So it kind of
waking up. Love that. Next track is
called Fault Line.
I felt you cut free turning cold
shoulders to me.
No
lights
communicating lies.
Nothing more to trust.
Heat. Heat.
Sh my skin the scars will remain.
I switch and liver.
I switch the lies into your world.
Heat. Heat.
Shed my skin stars will
heat.
cool sound design. Things like this that
maybe make it more of a cohesive work,
right? Cuz the tracks maybe don't blend
into each other necessarily, but they're
there's some connective tissue. One
thing I don't know if I consciously
realized until now is that the verse and
the chorus have different timings. So
the the verse is in just regular four.
You can count to four. 1 2 3 4 1 2 3 4.
But the drummer is great. Drummer is
doing some really cool stuff on the
offbeats. And once again, this drum
groove is kind of different. Like this
is not just your standard like whatever
this is progressive metal postgrunge
groove. like he's hidden t
that's just interesting, you know? It's
not like a backbeat. You're like
tuck. So, you kind of feel like you're
constantly getting attacked by those
snares just like
Oh, yeah. That's great. Someone said, "I
think beautiful guitar tone." Yeah,
that's really beautiful. Uh really
shimmery sounding.
What is this? So,
just the I don't know. Um, I don't know
if I have the words to describe, but I
think I I love these sort of
they're arpeggio like I'm sure on a
guitar it's not necessarily an arpeggio.
It's more like lines sort of
interjecting into each other, but it
just feels like a
beautiful sort of back and forth between
tones and sometimes they move and other
ones stay the same. This song is mostly
just one and flat six. So once again,
it's I'm a si I'm a simple person. I
hear a flat six, I like it. So a lot of
flat six chords. So
God, so pretty.
I see it. I see it in your eyes.
Killing
all that holds you. I love the part
where it goes killing all that holds you
because that's when it switches to the
new meter which is in 68. And when it
happens, it's such a surprise. Killing
all that with the guitar.
Kill
little kind of call in response. Once
again, great chorus. bring me back to
this amazing vocal harmonies. I was
listening to them really intently and
just realizing that's a huge part of why
I like this band is like he's just he
layers them on and they're really
tasteful. They're not overpowering. He's
never doing like more than maybe
two-part harmony, but yeah, it's
creative. It's not just parallel thirds
like you'd always hear.
Lots of fourths and fifths and ninths
and sevenths and seconds and just lots
of dissonance and interesting lines.
Bring me back to this.
Just really cool. I love this part.
These scars will mend.
stars.
>> Two things about that. That is that's
the Maynard rhythm. That's the two
against three. If you've watched my
Judith video yet, then you'll hear that
dars
will
right.
So that just sounds so cool.
shed my skin. These stars will mend.
They leave you on this chord. That's not
home. It's not the home chord. This is
the home chord. So they leave you on
this chord, four chord.
And scars will mend. And he's really
making it clear that it's minor. So it's
really sad. I love that. Let's keep
moving. The next one's called The
Recipe.
SW
it was a mistake of you.
race against the sun.
base. Look at the bass.
>> Sensing some love
slice.
Unite and sweat the heart apart.
A smile of pain.
I can show
myself.
Sh
my
I have too many things to say. Oh god.
Okay. Another thing that this singer
does, Jesse does that I think Maynard
does as well a lot is sort of this it's
like it's like they they have such a
good grasp of harmony and so they use
their voice which can only produce one
sound at a time to kind of outline
harmony.
He's not not okay with just picking one
note, right? So it's like I I I want
them both. I want the qualities of both
notes without harmonizing.
Um, the drums in this song I think are
just fantastic. Once again, it's in 68,
but this is a different type of groove.
Also, I think this song starts with the
chorus, which is interesting, and then
it goes to the verse. During the verse,
>> so much going on drums.
>> And the bass, I never noticed that until
now. The bass is doing some really cool
stuff because this section has so much
space in it, you know. Um, the guitar,
right? So, the low end drops out for a
moment when it goes up high and the
basis is totally going along with that
and is doing much more melodic lines.
You can really, if you pay attention,
you can hear it doing things. It's not
just holding down the low end. It's
actually providing some contour. So
nice.
Um,
and then that's a nice contrast to the
kind of wall of sound that you hear in
the chorus of just like,
right? And then we get this sort of
shortened phrase of evil's in the stink
of you
>> and oh, and then this part, this is also
kind of interesting, right? We've got
he's always singing something because it
stops goes
and then it comes in. The music is
coming in in the second half of the
measure. So, there's this like delayed
gratification and this feeling of
emptiness at the beginning of every one
of these
sections. I don't know whether it's a
verse or it's a chorus or what it is,
but it's just this repeating thing. And
every time it happens, I feel sort of
gutted, you know? I was just like, oh
this again of like life
swallows,
right?
>> That time he didn't say evil's in the
stink of you. He said something else.
But either way, there's this moment
where it's just this short little
phrase. D.
Those echoes are not superfluous. It's a
part of the song. You'd hear the drums
going.
So, there's just all these cool accents.
It's just really really well done. Also,
harmonically super beautiful. Um, there
are I'm hearing full major and minor
chords in the song in including seventh
chords and even maybe ninth chords.
Like, there's a lot of rich harmonies.
Definitely hear a major 7th chord on the
flat 6. Once again, my favorite. Listen
to this. Okay, so
beautiful.
And then this
great. What is that?
Fourth,
it sound is the guitar is playing two
notes here, guys.
Is he playing a seventh? Oh, it's great.
I think that's one of my favorite tenure
songs. Damn. Okay, next one is called
Cast It Out.
>> Cast it out.
I'm watching
your eyes. Casting out
my vision
of night. Blacking out.
Cast it out.
Watching
your life be dry
frustrated.
Love is like starting over
with every step and craving the problems
of meories.
while hopelessly
feeling
cracking out.
Nice.
I love their endings.
That one feels like an anti- ending, you
know, doesn't bring you home. Just kind
of ends on this chord just prematurely
feeling. It's great. Once again, great
vocal harmonies. Um, especially at the
very very end. I love how they kind of
culminate to him going bleed dry and
he's got these thirds. Um, but I was
trying to figure out the main melody.
He's got that giant jump in his voice.
Cast it out.
I think it's a minor 7th. First of all,
that's hard. He nails it every time. But
that's such a cool sound. This one's
also in C# sharp.
Cast it out
watching
so tense
cuz he's going.
That's weird. I like it. It's just cool.
Watching
your eyes. You would think that like
that bottom note is going to be a note
where you come to rest somewhere, but
it's it's the opposite.
That's super syncopated.
>> That's a tense chord.
That's so cool. While hopelessly
that's a flat, too. Yeah.
And it's
we got those parallel fourths and fifths
again. Okay, this is Wasteland. This is
the big hit. Um, it's a great song.
Yeah.
>> Change my
good intentions.
Crash crash over. You were not there
living in fear. But some
were not.
Really? That scares obvious tears. But I
do not
>> hide you through this. I want you to
help. And please
bleeding heart perched on my shirt. Die
high. Withdraw. Withdraw. Harding cold
sweats. Quivering lips ingest
try
all you can turn it away.
But I
will not fight you through this. I want
you to
Here's
the silver hol
passing through another
turn and tremble. Be judgmental
and into all the symbols the face with
beauty taste of victory.
Change my attempt to good intentions.
Light
skin
tight
selfedition.
Yeah, I feel that kind of like
overwhelmed feeling whenever Jesse hits
those high notes in this song. And it's
not just because they're high and
because he's killing it. It's also
because of the harmony, but it's like a
combination of so many factors that just
makes it so intense. And someone
mentioned the music video, I actually
haven't seen it, so that probably makes
it even more intense. But I think
there's a tritone in that that big high
peak. And the other cool thing I'm
noticing about their music is that they
definitely blur the lines between what a
chorus and a verse are supposed to be.
You know, they they're they're starting
songs with the chorus. They're I mean,
in this song alone, there's like the
chorus, which what is the chorus? Is it
change my attempt? Good intentions. That
sounds like the refrain, but it's so
much more low energy than
the other parts in some ways. And then
you've got change my attempt where it's
just his voice with like one guitar
strumming, no drums, right? And then it
kicks in like halfway through and and
surprises me every time because well,
actually I keep expecting it to and then
one time it didn't and I was like, whoa.
Right. And I forgot that that kind of
dreamy um sparse version continues. So
they're just really really good at
playing around with their material.
Keeping it really cohesive but really
keeping it interesting. You know, you
can't completely relax and be like, I
know what's going to happen. You know,
you really don't. Crouched over
D.
So I'm pretty sure it's flat six and
it's so beautiful. Also, this one's in
um F#. Okay, cool. Really, really well
done. This melody is so catchy and
beautiful and sad and everything um
crouched
over. Does that repetition and the space
that leaves crouch
over?
Do you hear all the repetition? Right.
And then again, but this time got a flat
six underneath it.
Obvious.
So he's taken his theme of D and taken
it up to a different part of the scale.
I will not different notes, but it's
still recognizable, right? I will not
hide. Oh, first he goes, I will not hide
you through this. So he gives us a
taste, right? He goes up, but then he
goes back to the lower melody. So I just
think that's so cool just for a moment.
Will not hide you through this. Great
lyric to do that on too, right? hide you
through this
and please
once again instead of um
da he's going d
variation and it's super pretty against
that d
tension
da
Going
to hide you through this. Sorry, clearly
don't know the lyrics very well. Is this
when he says, "I want you to help."
Yeah. I want you to help.
There's our tronee. Okay. So, we have uh
So, it just feels like it's all building
to that, right, of him finally singing.
I want you to help.
There it is.
And then when he gets um
when he gets a chance to resolve it, he
kind of takes it away from us by going
below the note he landed on. So he'll go
um I want you to help
just goes right below it which creates
tension and that's where we're left.
It's just so great. Then we got this
sort of bridge
which is a lot more militant sounding,
right? is very regimented.
All those little all these little like
down the scale runs in this song.
You hear all those parallel fifths in
his harmonies
and thirds.
you through this.
>> Last time he went, "I will not." He
went, "Hide you through this." And then
he sang a lot of other stuff like that.
This time he just goes, "I will not hide
you through this. I want you to." So he
he's defying our expectations because he
did it one way before and now he's
shortening everything. He's skipping to
the good part, so to speak, way before
we expect it to happen. So, it kind of
catches you off guard.
>> That is way longer than last time.
Such a good song. So, I can see why this
was such a big hit. I'm glad you're
enjoying it, Javier. That makes me
happy. And I'm sure Melody is into it,
too, because Melody loves his album.
Yes, Melody's right. Uh those
repetitions are a big part of what
enables it to be a mainstream hit. For
sure. Yeah. I mean, repetition is
important. It's not just for mainstream
songs. It's important for establishing
expectations and for making things reach
out to you and stick with you. We're
going to move on to the next song which
I love. Seasons to Cycles. Man, I wish
this had been a hit cuz it is absolutely
gorgeous. Like I said earlier in the
stream, this is sort of the three Libras
of this album. So, Seasons to Cycles
How slow do you
want me to be?
Wait in the balance
left lonely.
So much can be said through silence.
Is hard as it seems. All that we need is
too close to be seen.
You build your walls for me to
build your walls for me to
you. Build your arms for me to die.
Heat.
Heat. Heat.
Heat.
pretty
pretty.
This track is actually in a major key.
Um, but they stress uh a minor key uh
sorry, a minor chord. So, it gives a
nice kind of balance, I think. But you
always come home to the warmth of a
major chord.
Um, so yeah, we got acoustic guitar, got
violins. I love the drum drum the drum
groove in this song. It's really
interesting. Listen, listen.
>> Again, it's just really creative.
Really, really cool drumming. And also
the way it's uh produced, the way it's
processed, it's like sounds kind of in
the background kind of trashy, a little
bit far away.
There we go. Okay. So,
and then
duh.
Okay, got it. It's beautiful. Big
spread. It's probably guitars are really
great at this, but so are pianos. So,
nice spread out. Uh you can play a chord
really close or you can spread it over
octaves and it can sound really
especially beautiful I think spread out
like that. So
D
so pretty. So the first one is that
minor sound. How small do you minor? How
small do you
so pretty?
Want me to be and that is just gorgeous.
Not ending up where you expected and
instead going to a really tense spot.
Want me to be that would be resolved.
Want me to be but want me to be. That's
just a beautiful melody. D.
It's like each line asks a question and
you think you're going to get an answer,
but you just never get one.
>> Sentence.
I mean, we could spend all day on this,
but there's just so many beautiful
tensions. Um, and definitely
chords that elicit lots of I think
tender feelings because it's not like
power chords. It's not like that kind of
almost
the raw sort of like straightforward
almost empty sound of power chords.
These are all chords that have a lot of
color. This is like a canvas that's been
painted, you know, lots of things.
Whereas power chords feel sort of like a
blank canvas to me. They're very
structural.
to
you. Build your walls for me to cry.
And if I had to guess what those two
harmonies are doing together is probably
parallel fourths and fifths. The violins
and everything are just super beautiful.
I mean, you've got a if you got strings
playing like that.
There was a trionee. Um,
all right. Next song is called Halflife.
This is a good one, too. They're all
good.
Starting
reflecting the ground
staying
the fruit of the
you so well.
The dishes living
we expected to work.
But this is all you're giving.
Half of what you're worth.
Vision battle
overtones of snow in the dark
falling through.
One more breath destroys the best of
you.
The death of you falling shing
the ground.
Hey,
you so well.
Damn, that's a good song.
Okay, Halflife is just brilliant. So,
styling a shroud infecting the crowd.
That's what it is. I think I used to
think it was infecting the ground,
which is what humans are doing. So, this
one's a D sharp.
So, what's cool about this one is that
we've got a flat two. We haven't really
heard a whole lot of that yet. Uh, a
little little bit, but this is a D.
So, flat twos are used in metal all the
time. So,
it's only a half step above the main
note. And so it's just a really heavy
sound. It's very dark. It's very close.
It's it's pushing down
a lot of flat three and four and flat 6
and flat 7. All the just the my favorite
chords. No wonder. So that's kind of
what's going on underneath it. And the
drummer listen to what the drummer is
doing. Okay.
That's unusual. So, we got another um
one, two, six, eight groove. And the
drummer is going two
du
du du. He's hitting that snare on
D. He's hitting the snare on every other
hemiola. This two against three thing.
D.
So it just really throws you, but it's
consistent. So you can kind of get into
the groove still. Um, but that's that's
creative. He could have just been like,
but no.
So it sound seems like they do a lot of
these kind of spread uh triads. So um
it's kind of a thing they're doing.
which is one of my favorite ways to
voice a chord. Just nice and spread out.
You get all these beautiful intervals.
Fifth and a sixth.
Okay. Just hits a power chord.
>> I love this. So, we have
then the melody starts
d. So there's a really nice interplay
between the vocals and the guitar,
right? They're giving each other space.
Parasitic pleasures kind of a hea there
too
falling through. I love that. It's so
beautiful.
Seven flat 7.
Beautiful.
Okay, now let's talk about this part
before we move on is the um the smell of
her, the feel of her, the use of her.
This whole build is great because we
start off with just the chug ch
and they're really two, three, they're
hitting the the slow pulse, basically
the slower pulse of the song.
Now the guitar is going
same notes as it was playing in the
other part where it just goes.
So nice just kind of consistency
I'm guessing.
>> So he's actually talking here. He's not
really singing. the smell of her, thrill
of her, but then he it kind of blends
into him singing is killing everything
that you worked for. It's I love all the
emphasis on the smell of her.
I don't know what he's singing, but it's
just beautiful. So, let's go to Through
the Iris.
Also in 68
to circular views of blue with a gray
shade so captivating
more than You know
that what these questions are true
now that you're
carrying with me Americ.
There is a weekend
red.
Okay, Melody, since you know this album
so well, and Harvey and Javier,
I thought I could swear that he says
anticipating,
but he didn't. Did I hallucinate that?
F.
It's got a flat 6 and a flat 7. That's
kind of its thing.
Okay, so I made it up. He's never said
anticipating.
Oh my god. What the hell? Melody says,
"I can can't still feel it as 68. feel
it as a slow 44. Yeah. So in 68, since
the eighth note gets the beat, which are
the quicker beats, you're counting the
quarter note pulse, which is very slow,
but it's really about how it's
subdivided. So the quarter note is split
into three smaller beats. Whereas in 44,
a quarter note would be split into two
equal beats. So instead of 1 2 3 1 2 3,
it' be 1 2 3 4 1 2 3 4. Song is called
Empires.
Great life
sky city
this vast region
manifest
destination
leaves us fast racing.
time
you die
today.
You wait.
Lives are connected to lasting
obsessions that become possessions of
waste. While buying the next new fashion
that's fed to enslave this land of the
free.
The past time
you don't realize today
you
days past
you
today.
So this first lick is just great.
This is probably what this is a song on
this album that has a little bit more
bending, you know, a little bit more
like almost bluesy, a little bit bluesy.
Once again, I'm just astounded by the
drummer. I I always love the drums. In
fact, like I may have mentioned earlier
in the stream, I pulled this album out
to learn the autumn effect, which is the
last track on the drums, because I loved
it so much. But I don't think I ever
realized just how brilliant this drummer
is.
>> Then it's gonna pick up.
>> And this kind of groove is great, right?
I don't know what kind of groove this
is. You guys probably know better. Is
this kind of punk? But you got the
snares on every single in this case
feels more like it double time. So now
it's quarter notes, whatever, but it's
on the beats and then the kick is doing
all this cool syncopated stuff
underneath it. I can't quite hear it. I
would love to hear these multitracks,
but um you get that T, right? So days
past time flies. Great melody. Once
again, C# days past time flies. You
don't realize today
you waste see little things about
harmony that are make a huge difference.
Now when they get to the bridge, listen
to what the drums do.
>> They're doing
dun dun in a very consistent pattern.
Um, against this groove though, it's
some kind of triplet
du du du du du du du du du du du du du
du du du du du. Well, anyway, I think
you get the point. It's just very cool,
super creative. And to have the guitar
like kind of chugging along is what a
great
>> connecting
obsessions.
>> And then they kind of do it again, but
they instead of them cycling through
their dun
dun, they actually do even it out to fit
in with the construct of the 44 time
signature. So, let me see if I can find
that.
Don't be so surprised. Don't be so
surprised. Don't be so surprised. Don't
be so surprised. Don't be so surprised.
Don't be so surprised. Don't be so
surprised. Don't be so surprised.
You know what would have been kind of
fun? Maybe it would have been too
literal, but if they went, "Don't be so
surprised."
Like if they waited one more beat, that
would have surprised everybody. I should
be a producer.
days.
>> Now, what I love about this that the
drummer is doing is instead of going
back to days, time flies double time,
now he gives us the freaking slow,
sludgy tempo underneath what has
normally been with an uptempo groove.
So,
>> just great contrast. And of course, I
haven't even talked about the harmonies
and melodies. probably don't have time.
But once again, it's a very minor
sounding
except he goes
that's kind of bluesy.
That's that sharp four. None.
But um flies
today.
I love that. So that's a tense note.
Usually in pop music, you don't resolve
to notes like that. You go today. Today
you would like reverse it. Today
you wait. It's today.
Tension you waste.
Uh just great. Yeah. All right. Let's go
to pray.
But not like pray like pray.
One at a time,
one and a
time
that remains.
Snip back the weak before they give
away.
I'm twisted in knots from hard work and
strength.
I've been waiting so long for this.
until I die.
I never
Yeah, it's a nice song. Um especially
like the chorus though. So a lot of sus
two chords in there
and then
oh that
so this one's in 44 but then that part
where it goes
is in 68. So they're really good at
mixing uh these two meters really really
nicely. So chorus
I've been waiting so long all this time
really nice melody.
Once again it's minor
but leaving you in a tense place.
I'm ter. Okay. This is the part I really
like is when he says I'm terrified. I'm
ter. So that sounds tense.
So it's a ninth terra
big jump loting. Does this sound at all
like trapped? You guys remember trapped?
Terriied.
I just like that so much.
Oh,
the next one is insects.
This one's in harmonic minor.
>> Hindered by innocence, the timid turned
up.
Swallowed in a smile
unaware
dare
you to pray
and we call one and the same. Watch as
your rapid seasons start to
change.
All of the seasons that bought you.
All of the reasons that got you here
in the first
place. Heat. Heat. Heat.
New brain
will
not rewind.
>> Everything's cycling in six in this
song. Oh. Oh, not anymore.
through patient side
viewing from outside.
Such a shame. Such a shame your pride.
Let you in a state of pure deny.
New brain
will
I realize
that one's definitely different than all
their their others.
Um,
everything's happening in six for the
most part. So, I really don't know
exactly how I would notate it. You could
say it's like a quick 64 or a 68, but
not not 68. See, 68 has a connotation
where it's 1 2 3 4 5 6. This was 1 2 3 4
1 2 1 2 3 4 1 2. It's completely
different feel,
which I can't help but recognize is
good intentions. And I don't know if
that was on purpose or if they
accidentally plagiarized themselves, but
that whole part is phrased in six. So
that's different than a time signature.
It's like how how many times things
repeat. And usually they repeat four
times, eight times, but six times is
kind of weird. So that's just really the
whole thing throws you off. And even
just harmonically, it's not giving you
as many like clear directions as where
you're where to go and what's going on.
Even just this whole like baseline is
>> that's cool. It sounds kind of like
tulle, honestly. But it sounds more like
an interesting line than like any sort
of harmony or chord progression. It's
just kind of these intersecting lines
paralyzing kings.
Okay, this one's not in 68
44. The death of a king
auroring last so slide on so soon.
Tissue made of raisins.
dragging across you.
The flushing of eyes
could cleanse your abrasion.
Deep inside, consumed with guilt. I'm
clothed in a bed blanket.
Dream suspicious strangers
right
be
movement
the chinded
actions I wait
So close
to healing the wind
turning
to the enemy. Heat. Heat.
We are so
right.
It's so satisfying, right? super low
just
and it's just one and flat six over and
over again. So, of course, I'm thrilled.
>> I love that.
Just adding intention just because it
sounds great.
Great harmonies.
D
giving you an expectation that they uh
violate at the very end. He goes um uh
that's great. Yes. Hearing someone with
this kind of powerful voice singing
righteous and he's singing on the fifth.
So the fifth is very stable and very
strong sounding.
It's just really powerful, right?
>> We are so self.
>> We are so self righteous. He does that a
lot. Have you noticed that? He kind of
like will sing really like in this tone
and then like start the phrase that way
and then in the middle of a sentence
they'll like amp it all the way up.
That's pretty cool. All right, in the
interest of time, we're going to move on
to the autumn effect and I'm going to
play the original version. They
shortened it uh on Spotify and all the
major streaming platforms and even on
just like regular YouTube, but the
Autumn Effect is one of the sludgiest,
slowest, most beautiful, wonderful songs
ever. This is just Yeah, it's tops for
me.
So beautiful.
Casting
a cool
breeze
by
the autumn
Last year
where it went wrong
Jacob's
life
Jacob's
life
Chase the devil.
Keep on fighting. One day
my
soul
try and come to willingly embrace.
Come as kiss
withering
death
so
the
wind the devil
Heat. Heat.
Keep
on fighting. Why?
Heat
up here.
Heat. Heat.
Heat
I'll take the quiet
view of life
>> and leave you to
S it's dry.
I take the quiet
Heat up
here.
Heat
up here.
Heat.
that that was that was the last track on
the CD. I had that whole thing. But it
sounds like y'all are saying that that
last part is actually a song with a
name. I mean, it sounds like a different
song. I know that, but I just assumed it
was just like a part of the Autumn
Effect song, but Okay, it's saying we've
detected copyrighted audio in your
stream. Your stream may be temporarily
blocked. God, I hope not. Yes. So,
people are noticing. Yeah, there's
definitely some 9-in nails similarities,
which I hadn't thought about until just
now, but yes, for sure. There's a like
the day the world went away kind of
feeling the j right just the way that
feels. Um instead of a guitar going
you kind of have Jesse going
so back to the autumn effect song. Yeah,
that one. Uh, now that I've listened to
the whole thing again after so many so
many years. Um,
I think that's the one for me. Like
that's the one that makes me feel a
special way.
I just think it's so so gorgeous. So
it's in it sound like it was in C#. So
So the main kind of thing that's going
on with the bass, at least in the verse,
is uh C# sharp, E, and then F#. So
that's that's something I hear a lot in
their songs, and it's such a reliably
beautiful, exquisite kind of baseline or
chord progression. 1 flat, three, and
four. Hear
that? Oh, it's heartbreaking. Then we
got
they bring that flat two in which sounds
so beautiful.
>> So this progression starts on flat
three, then goes to four. And that's the
setup to bring you back down to one. So
starting in this different place,
I think it's it's like it's like songs
like this is what make makes me remember
that I was just in love with the minor
scale. I didn't need any other scales.
This one did it all for me. If you know
how to work it, you know, it's it can
give you everything you'd ever want.
Well, that's not true. It just feels
like it.
Uh, so I just think this part's so
exquisite. There's so many beautiful
tinkly guitars, you know, so many
beautiful layers.
>> Jacobs.
>> The drums. Obviously, I was in love with
those cuz I wanted to learn how to play
them. Super slow. This is like really
slow.
This is probably like 60 maybe or 65
beats per minute. That's so slow. Um,
and the drummer is just is just
emphasizing that
and then he has this cool syncopated
accent and then he stops. Listen to
that. It's so cool.
>> It's just it's so interesting to have
that contrast and that space being given
to the rest of the song, but you got the
guitar still providing the rhythmic
structure, right?
Then the chorus.
So, we got these chugs that are just Oh.
So,
there's this certain kind of sound. I
think I've heard it in trapped music and
probably Chevel, too. So, Taurus, you
probably know. But when they're hitting
these, especially sus tubes, I think it
sounds like the guitar is like
blossoming.
Like it's not not like a wah, not like a
wah. It's just got this. It has like a
there's a certain kind of resonance to
it that just feels so animated. So you
have the
And that's very cool, too, because
that's in a cycle of three. So that's
doing a D,
but it's over the slow four. D
and I think then in the chorus it
switches to flat 6 flat 7. So of course
I'm in love because I got one flat three
and four and then I get one flat 6 flat
7 or flat 3 four one whatever. This is
all the best chords. It's so beautiful.
And then I think I just want to double
check. I always thought Jesse was
singing
the death of which is friian.
That's I I just hadn't I wasn't hearing
I think a lot of frigian in like
melodies yet. So it's just
so interesting
the death of beauty as we know and you
get that beautiful ninth. No,
always that tension.
tronee
ho. Yeah. I mean, but the second time
they go back to the flat six chord and
keep the whole thing going with new new
lyrics and new ideas. So, at least I can
find the part.
No one that chord.
No one.
No. No one.
It's an add nine. No one.
God. No one.
Silence
here.
No one, no one is there.
I just think it's so well put together
and it gives me all the feelings all the
time. Makes me want to cry. It's so
beautiful. It's so haunting. It's so
dynamic um and slow. I love those slow
grooves. I might need to make a video
just for myself of this for this song.
Yay. Melodies inspired right music.
Awesome. Yes. One flat 34 or flat 3 41.
I'm still going to have a good singing
voice. I don't know if I have a good
singing voice. I just don't care
anymore, you know? I'm just like it's
the easiest way for me to express what's
going on without having to figure out
the notes on the piano or whatever. And
it's like I I don't care. It's a tool.
It's a tool. And then this whole part
just makes me feel like I'm out of my
body. This part
just this low deep these pads. I don't
know what they are, but
it feels so resonant and safe and
ancient. Just amazing. So this is also
one flat 34.
So it's got a consistency,
but it's an F#. just a different key.
Sorry.
It just kind of grows and mutates. It
feels very organic. And then you have um
um
yeah, they're they really like those
those ninths and I am a fan. That's just
so beautiful.
And then this part.
Yeah. So
parallel thirds.
That's exquisite. Why is that so
beautiful?
Oh, sorry.
I love that. So you got the baseline
going up and you've got the harmonies
coming down. So that's beautiful. It's
called contrary motion. Really nice.
Then it goes up.
Oh, is there Ray sixth in there? Hang
on.
Yes. Okay. So, this whole part sounds
like Dorian. That's why it's so goddamn
gorgeous. Dorian's like the minor scale,
but you take the sixth in the scale and
you raise it up and then it's got this
hope to it or this light to it. It's
just really beautiful. So um
so that would be
there it is. Okay. So it's D sharp.
There it is. Normally you would go
that's minor
and then
not as good and then it comes down and
then we get this other song I guess I
guess it's a different song with its own
lyrics um but it's also extremely
beautiful so some highlights from this
part
totally different key
F
sus chords.
So that's flat six.
four
flat 7. Okay.
I don't know if they're all suses.
Yeah, you can hear that sus resolving.
So da da da da da da da da
tension release.
There we go. Oh shit. Okay, so they've
got this ascending line on the top part
of the guitar.
So
Oh shit.
just going up.
Ah,
what scale is this? F. Okay.
I don't know why I keep wanting to play
B.
Oh,
does it go back to flat six? I think it
does. That is so gorgeous.
It's all about the ninth, baby. I have
to call it a night. But thank you so
much for listening to this album with
me. It means a lot to me. Please go see
them. You will not regret it. And they
have some dope merch. A printed drum
head. And they signed it. So fucking
cool. So 10 years, if you're watching,
thank you so much for inviting me. I
will remember this forever. It was such
a full circle moment for me. Ah, no.
Don't step on
I need you girls.
Heat. Heat.
Heat. Heat. Heat.