Okay,
step right up to my first time listening
to Tron Aries and now I'm down in it.
[Music]
[Applause]
[Music]
Heat up
[Music]
Heat. Heat.
[Music]
[Applause]
[Music]
I'd love to hear a mashup of that with
the background world.
Um, I almost started singing over it,
but that I thought that would be bad for
you. Fun for me, though. They're both
kind of 80s cheened. They both have the
little percolating pluckucky little
that keeps things propelled forward with
a nice slow four on the floor and a kind
of trashy offbeat high hat.
It sounds kind of like on a drum kit
when you have a stack. The other thing
this has in common with the background
world is lots of chords and they move in
unpredictable ways upon initialization
of the song. Bringing up the keyboard.
Okay.
[Music]
Okay. We got a nice big a
power chord.
Well, he keeps the A up top.
There it is. It moves fast.
[Music]
[Applause]
Okay.
[Music]
Heat up here.
[Music]
All
right, I'm into it. I'm I'm in it. We're
all in it. Forkked reality.
Heat. Heat.
[Music]
[Applause]
[Music]
He loves his octaves.
Fuck this chord. And everyone
everyone
[Music]
the note that he's going to next
ultimately he hits that note an octave
lower first. So go
see then again
that's our target. Okay. And then again,
this is one, this is fourish, this is
flat 6, and this is flat 2. So, it's got
that friian sound. Friian is dark. It's
evil. I like the the sound design. I
like the texture of that. It's very red
and fiery, which is, you know, I think
the color of Tron is the packs. No,
Milo's just vibing. Next is Alive as you
needed me to be, which I've heard a
bunch of times and got to see live. It
was so fun live. I was dancing. I
couldn't help myself.
This one has a heavy voice noise
production element.
[Applause]
Matt, that's voice right there. I love
that kick.
[Music]
[Applause]
[Music]
[Applause]
[Music]
[Applause]
He knows how to make you dance.
The way it makes me feel infection
is trying to find a way to let it out.
[Music]
[Applause]
Heat. Heat.
[Music]
[Applause]
[Music]
Heat. Heat. Heat.
[Music]
Heat
[Music]
up here.
[Music]
[Applause]
[Music]
I don't remember this part.
[Music]
I think they Tren and Attakus came up
with sort of the idea and I'm thinking
this theme
might come back send it to Boys Noise
and I think he came up with the beat and
the bass. Dance music producers know how
to make you move. That's kind of their
whole goal, right? is to get you moving
and have that energy flowing through you
and that excitement. There's so many
little things that Boy Noise is doing
that, you know, I I don't typically hear
in Nishnell's songs. The marriage of his
dance music skills with this Nishnell
song works supremely well, I think. But
it's Yeah, it's exciting. I love uh bass
music. It's like a giant umbrella of
dance music. So, when I first heard
this, I was like, "Oh, hey, now
something's different." And I like I
like what he's bringing to the table
here. So,
just that clap on four with the silence.
Dance music producer.
[Applause]
You feel it so physically. It's like
being slapped in a good way. It's a
transitional element and he uses it
throughout the song. And then this the
bass
highly syncopated against the four on
the floor. It makes the four on the
floor feel groovier. He does this cool
kick kick kick thing.
[Music]
[Applause]
It comes back. Now listen to the high
hats.
[Applause]
There's a lot of little high hat details
and you wouldn't believe how much that
adds to the groove and makes something
dable. There's sizzling back there and
there's a bunch of them that are like
right between like on the either side of
the kick.
[Applause]
[Music]
They're Yeah, it's it makes the groove
happen. And then he has all these
risers, right? So,
we got a precourse with the vocoder.
Yeah. Yeah. Yeah.
[Music]
You feel the rise? The risers.
[Music]
Dance music producer. Yeah. Yeah.
Yeah. Okay. So, yeah, it starts out on
the beats and then switches to the
offbeats.
[Music]
Yow
meow meow meow meow meow meow meow meow
meow meow.
Okay, so let's talk about the
composition real quick. So we got Okay.
So um um
Okay. So this is a chromatic six and
flat 6
then a flat three and one. So it does
not fit perfectly into a scale or
anything but it sounds kind of like a
minor scale with a little bit of a
chromatic note right here. This one
is melody. Oh sorry is totally minor
pentatonic.
That's the flat six
and it's the best thing in the entire
song. Next is echoes.
[Music]
Little D-tuned synth in the back.
[Music]
that delay
or echo.
[Music]
Okay.
Um, it's uh,
you know, it has a lot of his hallmarks.
It has a lot of octave action,
[Music]
ninths,
and unexpected chromatic
notes.
Even this part,
whatever it was, felt kind of a warm
placey. And then, yeah, a lot of D-Tuned
synths
doing they're doing chords, but there's
they're every note in the chord is out
of tune. Although, I think they might be
moving in the same pattern of out of
tuness, if that makes sense. They're not
like they're like all like that. And
then there's a delay that comes in when
he when he brings this in.
This this is reminiscent of the kind of
descending line that he put in that hoy
track bells in Santa Fe.
Starts to create complexity.
It's near the end. Not even yet, right?
Maybe like Oh, wait.
And they bring all that out. Okay, let's
listen to This Changes Everything.
Very retro video gamey,
which is appropriate.
[Music]
filters.
[Music]
This has that sound of like a minor or
major scale without any of the spicy
notes.
[Music]
Ah, it's the theme from it.
[Music]
Are we?
Maybe not exactly now.
[Music]
Huh?
That was weird.
[Music]
My god.
[Music]
I think that track probably makes more
sense in the context of the movie. It
just it switches direction too many
times to feel like I can listen to it,
you know? I'm I'm just when I'm getting
into it, it's the drums stop or
something stops, lines don't complete.
It's kind of frustrating, but I imagine
it's it's written exactly the way it is
for the movie. uh whatever scene this
is. So, you know, I'm not knocking it as
a as a cue. It wasn't exactly the same
theme as in it, but it is reminiscent.
Same key
and then it goes
and then
I think it's a variation essentially and
it reminds you which is exactly what a
good theme that develops in the movie
will do, right? It'll subliminally tell
you that what you're watching is related
somehow to the other thing you've
already watched.
Next is in the image of
[Music]
that's an add nine chord. I just nail
this chord.
[Music]
[Applause]
[Music]
[Applause]
[Music]
Sounds straight out of the 80s.
[Music]
Sorry.
There we go.
I'm glad they repeated that. I wasn't
sure if they were going to and I was
like I was like, "Come on, repeat it. It
just needs to happen again." And then
change from there. It kind of lost focus
for me, but I like this. Uh,
that's really cool.
Contrary motion.
Okay, next is I know you can feel it.
Very electro
[Music]
You
are my angels.
[Music]
All the pieces of the plan
in the way you understand
[Music]
now. The time is closing in hand.
Then go now while you can.
All along
all intention
[Music]
emotions
[Music]
all along
time
of the
[Music]
like
the moment it begins.
Take over everything.
The moment it begins,
I know you can feel it.
[Music]
Nice.
[Music]
Okay.
Trip hop. Really nice groove.
I wonder if Boy Noise had anything to do
with this one or not because it does
feel I mean it's not that Trent hasn't
done slower grooves like this before,
you know, even deeper or even um me I'm
not, but it does feel like a departure
somehow. It's just a feeling I have, you
know, I can feel it. Can't help but want
to compare it to Angel. It feels very
Angel inspired, I think. Similarly, I
mean, similar tempo and everything, but
the bass just sort of
right whereas Angel goes,
but they just I don't know something
about the way they're pulsing similarly.
And then the fact that it just sort of
stays on the C with the occasional
just like a note change. It's not really
a chord change. So, it's very stagnant
and stuck just the way Angel is. And
then even in his vocal styling, it kind
of sounds like he was inspired by the
more snake like high like ultra v of of
uh Horus Andy and yeah, just a little
bit of that. Nothing nothing crazy. I
can't exactly remember any of the
melodies though, but I think if I just
listen to it a bunch of times, it'll
it'll stick with me. I do kind of
remember a moment where there was this
three notes he did up
[Music]
Yeah, I think it was those because it
kind of reminded me of Are you sure
this is what you want?
Yeah. And then it kind of came to that
major third is such a thing to do.
Um,
yeah, I think this one is going to grow
on me. I think on paper it seems like it
should be my favorite, but it's not.
Okay, next one is permanence.
[Music]
Heat.
[Music]
Heat.
[Music]
It sounds kind of like stuttery strings,
but I know it's not. It's something
something cooler than that. It's like
it could be just a synth pad with a
really interesting gate.
That's really neat. I like that. It's
like it's like a
suspended chord with a seventh, but it's
which is not a weird chord. It's a
beautiful chord, but everything's all
clustered together. And it's sort of a m
a mixture of modes with this one. They
there's some chromatic.
They don't normally go together right
here.
[Music]
[Applause]
[Music]
Heat.
[Music]
[Applause]
[Music]
See
[Applause]
[Music]
cool. Love the ending of it, too. Okay,
next is Infiltrator.
Uh,
hey now.
Go up, boys. Noise.
Little gut roll.
[Music]
I can really hear the high hats.
[Music]
Hey,
instead of going down now it goes.
Sorry.
[Music]
Weird.
Probably goes up cuz it's a bass guitar,
right? Down.
[Music]
Okay, dope.
Next is 100% expendable.
We got a line cliche.
[Music]
Minor chord.
[Music]
Ha.
[Music]
Heat.
[Music]
I wish they would go back blocked in it
before
[Music]
Hotel California progression. It's half
of it and then sometimes they go like
75% of the way, but it's not exactly the
same. But, uh, as a result, it felt sort
of like, yeah, I've heard this. I've
heard this a million times. I'm like,
okay. I'm sure in the context of the
movie, it's like really exciting and
grand and amazing. like, you know, I
mean, the the sound design is kind of
cool. It does sound very like 80s again,
D-tuned sort of crumbling cassette tape,
but not quite so degraded. I mean, it
still has a lot of low-end and high-end.
It's It's not lowfi. It's just kind of
warbly and crackly. Next is still
remains
[Music]
Six.
Pretty.
[Applause]
[Music]
Oh, this is nice.
[Music]
Sorry,
I forgot it went down there. Well, I
love that. That's absolutely exquisite.
I don't know what exactly the genre of
that thing is. It's like film score
piano music, but I have so many songs,
unfinished songs like that. Um, partly
inspired by him also just, you know, you
like film score music, you play piano
since you were a kid. It's going to
happen. It's inevitable. But that was
just so gorgeous. Um,
mixelyian flat 6 in the beginning.
Sorry.
That's that haunting sound that he
brings to everything. I didn't even know
the scale existed until I started
analyzing 90 Schnails music.
Right. So, right. I mean, you could play
basically anything in the scale and
you're like, "Wow, that's the best thing
I've ever heard in my life." And then he
does a little um
to a kind of a G feeling. No, I added
the suspension. Never mind.
Maybe it was like that. It was a mode
mixture either way. Maybe it was an E
minor to an E major. And then um sorry,
that A flat should be called G.
And then um D and then C flat 6 to a
kind of a almost like it feels like it
goes home to major to major town.
Um, beautiful arrangement, you know,
gorgeous like layers in the back of pads
and
um, and they had some little like
parallel third things, which is
definitely something like, you know,
trenism.
I love that one. I'm going to listen to
that one again. Next is Who Wants to
Live Forever?
[Music]
Can't remember why.
[Music]
Something in my eyes.
[Music]
Something in the way it
feels here.
[Music]
Something to believe.
[Music]
what I used to be.
[Applause]
I just don't know anymore.
Saw it on your face.
[Music]
We all know our place.
[Music]
I don't want to be here
anymore.
Like that chord
[Music]
to me.
[Music]
All of us are here
to die.
[Music]
Boy
is calling
[Applause]
[Music]
some place I could never go.
[Music]
All I wish I do know
if I
could stay
here.
[Music]
>> I could find a way somehow.
Think I would be better now
[Music]
to live forever.
[Music]
live forever.
[Music]
Okay. Interesting. I really like that
last part. It was more my speed. It just
really I felt more I felt something when
that
and I guess this singer is Judelene.
Judelene.
Uh and she's in octaves I think with
Trent there. Or maybe they just pitched
her voice. I'm not sure. But I thought
that that just that combination of of
choices was really working for me. The
other part, I don't know. It might be
another grower. All right. Well, I just
realized there's like a million more
tracks. Um, so I have to move forward.
Building better worlds.
Uhhuh.
Hotel Tronaphoria
[Music]
Bitch.
So weird hearing nine shields do like
Bunch of triads.
Okay, next is a target identified.
Hey, themes. We got themes.
Wow, that sounds amazing.
The bends are good.
Yeah, nice.
[Music]
[Applause]
[Music]
[Applause]
[Music]
[Applause]
[Music]
noise is back.
[Music]
All right, we're going to talk about
that later.
It's fucking weird.
[Music]
That was too weird.
[Music]
sound like a halftime groove for a
second.
See how they pass that theme around a
bunch of different instruments. That's
nice. Oh, next is called de demonize. I
thought it said demon noise.
Okay. My streaming software played
target identified again though it said
it was playing demonized.
Okay. Heat up
[Music]
here.
[Music]
Nice
[Music]
heat.
Thank
[Music]
you.
[Music]
Was
[Music]
[Applause]
[Music]
that the end of it? No. Okay.
I like that.
[Music]
You know, I want to say something.
Uh, I'm listening to this as a Nish
Nails fan. I have never seen Tron, any
of the Trons. I'm not planning on seeing
this one either. I just not I don't
know. It's just I'm for whatever reason
I'm not I'm not drawn to it. I can't
comment on how this score compares to
past ones. I can't comment on how well
it supports the movie or the the plot or
the world that's been built. No idea
except that I know that there's blue and
green. I'm I'm sorry. I meant blue and
red and um and there's like these cars
that they drive uh kind of on like lit
like lighted
lines. So anyway, you can roast me in
the comments for never having seen
drawn. I also will say though that I'm
not sure I understand the decision
behind making this a Nails album because
to me I mean if you compare it to
ghosts, ghosts could be seen as lots of
moods, right? rife with film score
material. A collection. Yeah. But it's
all instrumental. This doesn't feel like
Ghostslike. To me, it feels like a movie
score. I'm Yeah. I'm just I'm curious
what made them feel like they wanted to
market it that way. It does have some
song songs on it. I get that. And maybe
that's why. But yeah, I don't know.
Maybe you all know more about this than
I do. I don't think I'm going to be able
to consider this a 9-in Nails album.
Like when I'm looking back on the
discoraphy, I'm going to think of this
as a film score. Next is What Have You
Done?
[Music]
All right.
[Music]
There's So many moments like that where
the energy just dies and I'm like I know
they did that on purpose but when you're
just listening to it as a song it's so
unsatisfying.
[Music]
I'll say more about that in a second.
I'll elaborate.
O, that's real.
God, I wonder what it's like to hear
this in this movie theater. It seems
like it could be pretty fucking
overwhelming. Maybe in a good way,
though. Um, so what I was saying before
is uh energy dying. It's weird. It's
like you can you can have contrast. You
can have breakdowns, right? where it
doesn't feel like the energy died. It
feels Yes, baby. I know. It feels like
the energy has gone dormant and it's
coming back any minute to kill you.
Imagine
the difference between two people
fighting and they're screaming at each
other's faces versus they're staring at
each other and nothing's being said, but
you can feel the electricity in the
room. There's like it's like, you know,
the energy is still there even though
it's quiet. So you can create that
musically,
but there's got to be a little follow
through, I think, to get to that point.
So for example, if you've got these
and then you just
don't do it, that feels like the energy
died. If you give it a
If you like throw the ball and let it
fall on the ground and then stay there,
you've got a follow through and now
you've got that breakdown. But if you
just go to throw it and then you just
stop, that's where it feel and then you
just drop it. You know, that's where
that's there's a lot of moments like
that in this score that that feel like
that. But again, my critique is only as
just a listener
sitting here in my little corner of my
room, not seeing the movie, not
understanding,
you know, what that choice was about
because I'll bet you Trent Resner is
nothing if not incredibly meticulous and
intentional about everything. So, I'm
sure there's very, very good reasons.
Um, but without the movie, some of these
cues aren't working very well for me.
And that's okay because it's okay if
it's a film score, but if it's supposed
to be an album, then it doesn't feel
quite okay. You know, like it sort of
feels like it's what how can this be an
album if it's not if it was designed for
a movie? You're supporting another form
of art. And some film scores stand alone
great, but at the same time, it's still
a film score. Maybe I have I'm maybe I'm
having some stupid hot takes right now.
I've been at this for a little while.
Let me keep moving. All right. Next is a
question of trust.
[Music]
I like this one.
[Music]
Noise.
[Music]
Oh, ghost in the machine.
There's that 80s sound again, which you
know is my favorite thing in the whole
world.
[Music]
[Applause]
[Music]
Heat. Heat.
[Music]
Uh, next is no going back.
Okay, this sounds like a repreeze of
Who Wants to Live Forever maybe?
[Music]
Yes.
[Music]
Think Fred
[Music]
Oh,
[Music]
[Applause]
Next is Nemesis.
[Music]
Okay, there was another queue that had
the same descending line.
[Music]
Heat. Heat.
[Music]
Heat. Heat.
[Music]
Heat.
[Music]
Heat. Heat.
[Music]
Okay. Uh, next is out in the world.
[Music]
Now
heat.
[Music]
Oh man, that's a great cue. I wish that
was like a five minute song. That has
some good stuff in there. Shadow Over
Me.
How to tell if I'm awake anymore? How to
know for sure?
In this dream. Used to think I believe
hard to know for sure.
I know what I am. I know who I am. And I
know what I have to do.
[Music]
I know what I am. I know who I am. But
what if everything is true?
[Music]
[Applause]
[Music]
Yes. Everything is
fine. We're running out of time. Yeah.
Heat.
[Music]
I like that one. That's good. And it's
cool to hear the in it. It's the theme
that theme is used in in it and
somewhere else more some of the cues
near the end here and and then to get
the payoff of like oh this is what it
where it came from. At least that's how
it feels. Who knows which came first. As
alive as you need me to be has the other
theme in it that gets used a lot. And
because I've already analyzed the theme
I guess and in it then I feel like okay
sort of just leaving it be. But I do
think that had a lot of the 9-in noise
sound which I think I really like. I
think I think they complement each other
in a really special way and it just
works. And I love the sort of mid-tempo
dance groove and the effects on his
voice on this one are very cool. I mean
there was like a vocoder chorus which
was interesting but even you know during
the verse as things start to get crackly
and break apart more his voice also
follows suit and that's just a good
feeling. Sweet. All right, finally. I've
been trying to do this for weeks. Thanks
for watching. Love to know what you
think. Tell me if I should break my just
I guess my streak of not seeing Tron and
see Tron. Of course you're going to tell
me to see Tron. Who wouldn't? Until next
time, my friends. Have a good one.