Another great one! Though I'm sure most of us feel like we are barely keeping up with the concepts, this is the kind of breakdown I love to see. "Why is this so weird and funky and satisfying?" Then giving us a smorgesborg of reasons why. Getting through the progression and feeling that "Creep" like IV to iv and then that odd jump back to the beginning of the progressions! I vicariously got the zest of why you wanted to break this thing down. Excellent. Also, Krallice was great here in Philly! Hope you enjoyed it up there. Just two hours of pure brilliance! I ran into Jamie from Horrendous afterwards. We both felt like it was our weird non-religious version of church.
@MaiBarslev2 күн бұрын
So glad you brought them up, I use to say Bjørk is meeting metal ;-). I love that record, you can here it very much without being tired, cause of the many (in that time it was made) "strange" ryth/riifs
@mariajosequintanalopez54794 күн бұрын
Meshuggahntastic!! \m/
@CheddarGetter5 күн бұрын
Reddit sent me. This video has been hyped up a lot for me. So lets see how it goes, im stoked!
@MichaelSheaAudio6 күн бұрын
Protest The Hero is definitely 100% music, they're my favourite band. Everything from Kezia to present is incredible. I always describe the band as "whimsical" because they're so quirky and fun but in the heaviest way. I feel like Scurrilous was peak whimsy. Great video, though I'm not the most educated on music theory so there were some new concepts introduced to me here. XD
@michael50456 күн бұрын
Hell ya, this is a juuuiicy riff
@GFJDean356 күн бұрын
This is actually one of my favorite sections in all of prog metal!
@GFJDean356 күн бұрын
The moment I saw "Gardenias" I was like 'It better be THAT riff' Hell yeah!
@TheSquareOnes7 күн бұрын
Filing away "hyperbeat" for future use against people that are just trying to get through the day, thanks again.
@vladilenasmusiccollection93097 күн бұрын
You explain music in the best way I have seen in this platform. It's always a joy to watch your videos! Hope there's some early-era Kayo Dot analysis at some point (I just noticed I wasnt subbed with this account, here goes a sub)
@guidoretro7 күн бұрын
Sounds very "salsa", like some of Atheist's parts
@coolty5457 күн бұрын
I'm a little late to the party, but I love all your BTBAM content. Any plans to do some analysis on Colors II?
@metalmusictheory54016 күн бұрын
Yes eventually, though it might be a little bit! Trying to gather a bunch of the motives they reuse from Colors I for a video!
@gmtrucco7 күн бұрын
Great video as usual. Some extra info to chime in, this section is essentially a rushed son montuno in 7/8. Why: You're getting the tumbao feel plus the typical accent on the last beat. Tonal ambiguity between the iv and I as the tonic is prevalent in Latin American music in general. The chord progression is built around the Andalusian cadence. Flat tonal keys are very typical in the style, as they accommodate the brass section's transpositions. All of those are what one could call basic building blocks of the genre.
@metalmusictheory54014 күн бұрын
Really cool, didn't think of it that way but you're absolutely right!
@MrGul7 күн бұрын
Totally irrelevant information: "schema" is also the Swedish word for "schedule" (specifically referring to "school timetable").
@metalmusictheory54014 күн бұрын
fitting, considering that i'm trying to get back on a "schema" for making these videos!
@ThePopDescriptivist7 күн бұрын
Functional harmony! Love it! Glad you're going to be looking at more harmony related stuff in the next few videos. Quick comment about that last Ab7. I agree it's kind of a mislead, where the typical secondary dominant motion would bring us to Db (V). But I think there are some other good ways you could look at this functionally. If we treat the Ebm as the tonic, then the overall progression has the feel of IV / V / i, which is non-diatonic, but also typical of the melodic minor setting which is often used to reflect a strong/leading melodic contour from C to D to Eb (in this key). Another option is that since you're expecting the Ab7 to be the V7 of V, you could actually think of this as the bVII7 of V instead. This bears a strong resemblance to the 'backdoor progression' relative to a tonic Bb... you have Gb (mediant substitution of iv) / Ab7 (bVII7) / Bb (I). And then from there the labile Bb becomes a V and you embrace the original key once again.
@metalmusictheory54014 күн бұрын
Great to hear from you! Yes I think it was a blindspot (deafspot?) to not hear this as already part of an Eb melodic minor IV-V-i progression, but that makes sense, though I think it requires a little bit of forward hearing to hear Eb as the tonic immediately after we get the really satisfying Gb. For the backdoor cadence, yes this makes sense too, though I think hearing the Gb as a mediant sub as part of this chain might take some practice for me. The other maybe slightly simpler option is to hear this as part of an Aeolian progression ("bVI-bVII-i") that resolves to Bb, then continues on (though this is not that different from saying it's a passing chord). I think the basic cool thing is that it is some type of V of V, but not in the key we end up heading to. I also didn't go into how fluid some of the distinctions between separate chords are; for a lot of it they're moving along the Eb-Gb-Bb-Db thirds cycle, and it's not always clear if something is an Eb-7 chord or a Gb major chord etc., but this helps with blurring the sense of tonic even more.
@DJTheMetalheadMercenary7 күн бұрын
Nice!!!!
@olsen37877 күн бұрын
First video I watched, instantly subbed
@piacere_lore7 күн бұрын
I'm a simple man: I see Protest the Hero, I press like
@seananderson53347 күн бұрын
I remember listening to PTH back when only Kezia was out and just remember thinking how could guys so young create such complicated music. Then Fortress came out and that solidified my status as a fan. Every album they've made is fantastic.
@bjcoon37897 күн бұрын
Hi love this channel
@masterchain33357 күн бұрын
"Figure it out" is this how metal nerds say "git gud"? Great to see you back.
@drumkidstu7 күн бұрын
God this channel rules in every sense of the word! Also the baroque version at the end via harpsichord is literally what I needed
@evelonglive7 күн бұрын
Yes!
@nachfullbarertrank52307 күн бұрын
those first 4 bars of the bass riff are gonna be stuck in my head for the rest of the day. jesus
@trialbyicecream7 күн бұрын
Another great one!
@jerryjohnson7367 күн бұрын
Stop don't hug me virtually I'm going to develop a parasocial father-son relationship with you nooooo
@metalmusictheory54014 күн бұрын
I'm proud of you son
@StanTorrent7 күн бұрын
First!!!!!!!!
@TylerJMacDonald7 күн бұрын
We are so back
@HabAnagarek9 күн бұрын
Would you say that Origin's riffs are usually based on a particular mode? Sounds modal, always resolving at the same pedal tone (by way of the flat 2), little harmonic movement (i.e., any kind of chord progressions - forgive my amateur understanding!)
@metalmusictheory54017 күн бұрын
Yes, kind of modal in the sense that the root motions are often using Phrygian fragments, but also kind of not modal because they shift arpeggios around without changing them to fit the mode. In general I think modes are only kind of useful, but they can be helpful in giving a starting point for writing riffs like this!
@williamtudor10 күн бұрын
Nice analysis bro. Defeated Sanity are excellent song writers; brutal and intelligent riffing without ever degrading into an incoherent riff salad like so many within the genre.
@i_want_my_shuggah10 күн бұрын
Deathspell Omega really know how to utilize bends to create broader soundscapes and give a more unique sound to their music.
@i_want_my_shuggah10 күн бұрын
Gorguts analysis! The fathers of dissonant death metal!
@jackwilliams583811 күн бұрын
Just saw them last friday. Truly remarkable performance. Never seen anything like it really.
@matthewponder569212 күн бұрын
160 bpm...but double time 😈
@schizophreniagaming405813 күн бұрын
6:25 oh hey sounds like Meshuggah! Wait no that’s Panasonic Youth
@JHAN121214 күн бұрын
As a drummer tryna learn this song, this guitar video is super helpful
@theolinwox15 күн бұрын
1:53 2:01 2:05 2:08 2:11 2:15 2:18 4:25 7:29 7:39
@xxSPiKeZxx32618 күн бұрын
Dude never skipped neck day
@rhino20218 күн бұрын
This is, honestly, one of my keast favorite Meshuggah songs. Don't get me wrong, it's incredible, and I've seen it live, which is another level of technicality, but it is vastly overshadowed by so many ither great Meshuggah songs, I skip over it more than any other
@rhino20218 күн бұрын
One of the best albums ever. Thanks for breaking it, down. Love the shirt
@nachfullbarertrank523018 күн бұрын
im going to read into it, i love interviews. congratulations on finishing it
@nachfullbarertrank523018 күн бұрын
"I automate my right hand to move as fast as it can without reference to the beat, while my left hand has to hear with the slower beat" now I feel less bad about not being able to tremolo pick riffs like that at 250+ quarter notes pm sixteenth notes. although some people can. i blame it on being left handed
@kyleofe220 күн бұрын
I remember watching one of your videos, maybe end of 2022, where you said you’re taking a hiatus from making videos due to your dissertation. I was bummed but totally understand life goals getting in the way of KZbin. I searched for your page today to see if there was anything posted and to my surprise, plenty to run through! Thanks for coming back. I love the theory. Congratulations on finishing your dissertation!
@CHEWYCHEWYQQ21 күн бұрын
Here's hoping you still check the comments. Regarding transcriptions of the fast section of Prancer, this is my understanding of your arguments: 1. These kinds of sections are not aligned to any grid. 1a. Existing transcriptions are wildly conflicting with each other and neither right, nor wrong. 1b. By visualizing the section electronically and counting the differences in time, we can see that the rhythms are not repeating. 1c. DEP themselves do not perform the rhythms consistently live. An additional point of discussion is that Ben Weinman himself commented on the video. I don't want to put words in his mouth, but my interpretation of Weinman's comment is that he confirmed that these sections do not rigidly adhere to a grid, and that future performances were about trying to recreate the feeling of the initial demos. Again these are my words and not Weinman's. This video, combined with Weinman's comments should be enough to close the door on these fast sections, but a part of me still feels like they can be represented math. I have two additional nuggets to contribute to the discussion: 1. You can find a videos of Billy Rymer performing Prancer here on youtube to the studio recording. In these videos, he performs these fast sections accurately enough that the live kick and snare hits sound as one with the recording. To me, the fact that the live snare hits do not sound like they're making a flam with the recording indicates that Rymer is recreating these rhythms with a very consistent level of accuracy. 2. There's another video on KZbin by Signals Music Studio where someone visualized the rhythm of Master of Puppets, and using some division concluded that the odd time bar in the verse is actually a bar of 21/32. The author of the video however, doubts that Metallica intended to have a bar of 21/32, and would have an extremely hard time counting 21/32 at tempo, and thus probably think of the bar as "bah dum dum". I bring up this example however, because even if Metallica and teenagers at Guitar Center think of that bar as "bah dum dum", this bar is actually on a grid, even if the individual subdivisions of the grid (32nd notes at roughly 212 bpm) are too fast for people to perceive. Basically, I think that the fast sections of DEP might be still be on a grid, even if thinking of that grid is actually detrimental to performing the music. Also, the human ability to recreate a rhythm by feel allows us to access rhythms far, far, more sophisticated than anything we can feel/conceive of. Love the video, sorry this comment was so long.
@metalmusictheory540120 күн бұрын
Yes, that is my argument! So yes, any rhythm can technically be put on a theoretical grid if you make the gridlines small enough. The implicit thing in this argument, though, is that if the gridlines get much faster than 100ms, they're too fast to perceive or use metrically (drawing on a bunch of music cognition research). So if you have to make your gridlines really fast, they stop being audible or useful in performance, and I'm not sure what good it does to say there's a grid. It's also true that the band recreates these rhythms very accurately, syncing with each other and with the recording (and even I was able to play precisely and accurately with the recording with enough practice), but this does not mean that they have to be on a grid, either in the musicians' heads or when they recorded it. I talked about this in more detail in my dissertation-basically it's possible to learn to mimic things very precisely even without any rigid grid. Thanks for watching so closely and taking the time to comment!
@matiasocarez22 күн бұрын
the link is broken :(
@metalmusictheory540120 күн бұрын
works for me! maybe try the doi?
@lloydbonds926823 күн бұрын
Every now and again I’ll get this riff stuck in my head and scramble through my death metal playlist trying to find out which song has it
@Vileinist23 күн бұрын
Very cool analysis. I was always drawn to this particular riff as well and recently figured it out for violin.
@FreepowerUG24 күн бұрын
Phenomenal ❤ I can't wait to set aside some time and really dig into the dissertation... And steal every idea I possibly can 🙌
@MotorGoblin26 күн бұрын
Congrats! Is the dissertation up somewhere else? I don't have access to downloads on the Columbia site.
@metalmusictheory540123 күн бұрын
send me and email and I can send it!
@Heheha32927 күн бұрын
I still dont understand exactly what you were studying.
@metalmusictheory540123 күн бұрын
read the dissertation and then you still won't know