#chorus fx

[imissthembutitwasntadisaster]

Out of the Woods - Taylor Swift // The Bear Episodes 7 and 8

#the bear #the bear fx #hey remember when I said I was done? lies and deceit baby I'm back on my bs #anyway remember how the repetiton of the chorus of this song is the repetition of anxiety????? BECAUSE I DO AND I'M THINKING ABOUT IT #REAL HARD

[heardchef]

#a chorus of 'i can fix him!' resounds from the void #the bear #the bear fx #the bear spoilers #carmen berzatto #carmy berzatto #jeremy allen white #s01e08 #cw flashing #flashing #tw flashing #tvfilmedit #tvfilmdaily #tvfilmgifs #gif #mine

[fuckingguide]

the wwdits s4 teaser trailer but it’s (mostly) nandor dancing to the macarena

(tw for flashing lights, though not any worse than the actual trailer)

#what we do in the shadows #wwdits #wwdits spoilers #nandor the relentless #the others are in there too but really this is about nandor shredding it on the dancefloor to the macarena #yes this is inspired by my post from an hour or so ago. figured i could make it happen so i did #it pains me that the trailer is the length it is bc i would have loved to make a properly timed video to this song 😔 #but i used pretty much every single dance shot and barely managed to get a chorus in as it is #i still timed some important bits nicely so overall i'm happy but yh fx where is my 5 hour supercut of the vampires at the club #video.mp4 #edits.mp4 #listen i put actual effort into timing this the best way i could therefore it gets to go in the edits tag #also why tf is it so blurry. why does it look better when i play the file fullscreen on my laptop than it does in a tiny window on tumblr #explain that to me tumblr 🤨

[a-secretkey]

When will SM start releasing remastered version (at least in digital) of some groups bc Sherlock+Clue, Dream Girl and Red Light needs some help, asap

#😭😭 #but for real #something is not hitting right #is the switch to the chorus #😅😅 #something... #kpop #sm entertainment #sm #shinee #fx #f(x) #ericka.txt

[hypnoneghoul]

drag talk gear!!!

got sent those pics and couldn't help myself eheheh

matty

DigiTech Whammy 5

Boss TU-3 Chromatic Tuner

Keeley Compressor Plus

Deep Space Devices Dust

JPTR FX Warlow

Catalinbread FX40 Soft Focus Shoegaze

Death by Audio Echo Dream 2

EarthQuaker Devices Sea Machine Super Chorus

neil

Ernie Ball EB6201 Volume Tuner

EarthQuaker Devices Park Fuzz Sound

Catalinbread FX40 Soft Focus Shoegaze

Boss Delay DM-2w

Boss Chorus Compressor CE-2w

EarthQuaker Devices Transmisser Reverb

Mr. Black Boost Drive One-Hundred (rare thing)

#hypnone gear talks #drag talk

[melit0n]

Part two of my FX Sleep Token post! Again, hope these make sense, and I'm not just spouting nonsense lol.

Part Two includes: Sundowning and This Place Will Become Your Tomb (below the cut, of course)

Part One -> One, Two, Jaws and The Way That You Were

Part Three -> Take Me Back To Eden

+ If I've missed something, feel free to add your own thoughts!

Note- some of these are FX, others are sound mixing and music bits I wanted to mention. Any song you don't see mentioned are songs that I couldn't find anything to pull out of them. Plus, reminder; these are my interpretations, I'm sorry if you can't hear what I hear, or you think something different.

The Night Does Not Belong To God

- At 2:48, an odd, muffled noise emerges. To me, it sounds like an excerpt of a crackled phone call; the type where whoever you're calling is far away, and both of you can barely hear what eachother are saying. It reappears, quietly, at 3:00, 3:12 and 3:55 (loudest and closest to actual words here). A fruitless confession the other will never hear. (I hope that makes sense).

The Offering

- At 3:40, a drum beat starts that sounds like a panicked heartbeat. With the build up of backing vocals, and white noise, it creates a very stressed atmosphere; makes you feel like you want to run. It's primal, almost.

Dark Signs

- Massive use of backing vocals in place of instruments (along with the usual synths and beats) in this one. Lots of general vocalisations and the lyric "I might break and bend to my basic need to be loved and close to somebody" in the background of the chorus. The build up of the backing vocals make the song slighty cluttered, in a good way, and gives off this impression of a bunch of different thoughts overlapping eachother; an uninterpretable inner monologue.

Give

- White noise that raises by two chords at the end of each lyric. It's subtle, but it makes the song feel more full. This is throughout the whole song, minus the chorus.

+ Would just like to mention Vessel's breathing at the end of Gods. Gods itself doesn't have any specific FX notes, but I felt like that alone needed a mention.

Drag Me Under

- Unironically, the opening chords sound like Undertale's Fallen Down

- My favourite thing about this whole song, other than how ethereal and soft it feels, is that the vocals steadily get louder, along with the instruments. Vessel's asking to be dragged under, and, as the listener, it can be interpreted two ways. The person Vessel is looking for is 'under', where you are as the listener, and he is steadily decending towards them until he gets cut off. So close, yet so far, y'know? Or, you are, as the listener, above Vessel. He's asking to descend, but, instead, he's acending towards the listener and away from what he wants. Away from love, and towards Sleep. Hope that makes sense.

+ I just wanted to mention the piano at 1:15 in Blood Sport. I had my friend listen to their albums, and her instant reaction to this part was "Sounds like stars twinkling and atoms colliding. Kind of like the start of Gustav Holst's Jupiter." and I thought that was pretty cool, so I thought I'd mention it.

---------

Album Notes: My favourite album by far. Sleep Token moves away from the minimal instruments and focuses more on more traditional metal aspects with their songs, allowing for the existence of Gods, The Offering and Higher (while also staying in tune with a 'softer' side, creating Drag Me Under, Take Aim and Shelter). The whole album has a sense of endless, almost unreachable longing to it. Almost feels religious, in some aspects. Again, with the five stages of grief, it's bargaining. Wishing for something you had, but you've lost.

Atlantic

- At 2:37, Vessel starts up with some vocalisations that sound like two whales replying to eachother. And then, of course, there's the actual, digital-sounding whale call sound that's used. Having had a bit of a look around, what they're mimicking is closest to a Sperm Whale's greeting chirp or a Blue Whale's typical mourning call, which, considering both are common in the Atlantic Ocean, fits wonderfully.

Like That

- All of the beginning beats are muffled. Also, if you turn your sound up and put headphones on, there's a continuous door knocking from 0:00-0:15. First lyric? "Trapped under the surface of your words". We listen to Vessel from under the surface Their words.

Descending

- Whole song has a muffled, water effect on it. Can especially he heard in the first 15 seconds. Deeper into the song you go, as the listener, the more the water effect can be heard. You, as the listener, are decending further; drowning.

High Water

- In the final breakdown, from 4:40-the end, there's muffled screaming, shouting and sobbing. It can be heard most in the last 20 seconds.

Fall For Me

- Lyrics from Distraction are mirrored in this one

E.g; "'Cause I'm broken into fractions" -> "Through a fractured existence"

---------

Album Notes: This whole album has a water like effect to it; so many instruments are muffled as if being played underwater and there are water motifs in general. It puts equal focus on more heavy songs, no trad metal this time though, in High Water, Hyponsis and Alkaline, while also, for the first time, allowing for soft piano and acoustic songs like Telomeres, Missing Limbs and Fall For Me. The album as a whole is tragically beautiful in its own sense, and full of yearning and longing. If we're still sticking with the five stages of grief thing, then we've finally hit depression, and it definitely feels like. I will admit this is the only album that gets tears and sobs outta me.

Thank you for reading through all my thoughts and feelings, whoever you are. Remember, the night belongs to you; worship <3.

#part two yippee #quite enjoyed going through TPWBYT #okay but like why is Telomeres so sad?? #and missing limbs #I don't listen to them all that much because I didn't like them at first but #I was sat there having a little sob to 'this is the start of something' with that massive breakdown #had me in my utter feelies there #sleep token #vessel #music analysis #st #sleep token vessel #sundowning #tpwbyt #mel's rambles

[noisytenant]

breakcore psychedelia conceptum? hell yeeeaaahhh i'm fist bumping you, you into synthesizers or VSTs/sound plugins at all?

(fist bump)

"into" in a general interest sense, or in an objecto way? i can admire certain sounds or interfaces, but they're mostly tools to me, so there's not much to say on the latter. Also my laptop is fried so I can't check my folder to jog my memory on what I like.

the truth is my current workflow is so heavily sample-based (like ~90% sliced samples) that i don't play as much with synths as i used to, which was already not that much. I use FL studio and often try the default tools first, though i've downloaded more silly VSTs than I know what to do with.

I'm mostly running a bunch of Slicex channels, sometimes granular synth, Fruity Slicer for songs w/ fixed BPM, etc. When I was more synth-using, I used a lot of Sytrus presets. Also, Rave Generator 2, which doesn't really count since it's also a sampler, but I digress. Nowadays I sometimes play with BIGROOMKIXSYNTH to make my own kicks when combined with effects -> (next paragraph elaborates)

I decided to finally learn some facsimile of mastering when I realized you use effect plugins in the mixer. You can hear the difference between my first album where they (politely) asked me "yeah this is cool but can you master it?" and so I (a teenager not knowing of these things) EQ'd it in Audacity and ran, to my newer album which actively employs effects and automation.

It's not my most used, but off the top of my head I really like Angelina FX for interesting ambient sounds. It has an X-Y formant transformer, chorus, reverb, and granulizer functions. Also, if you need real-time pitching/autotune, KeroVee is solid for free.

Hope this answers your question 🫡

#indexed post #music #I don't know if this was meant to be private but I'm choosing to respond publicly. 👍

[doppleganger-rental]

Comparison: My 16mm print of Schoolhouse Rock - Interjections has quite a few differences from the home video versions that have been the norm for decades. The kid getting the shot sounds like Bob Dorough did the voice originally. Also the girl saying hey also sounds like Dorough. Sound fx also diff. Also, interesting is that they didn’t just use the first chorus and duplicated for the second chorus. There’s actually a different take used in the original version. You can hear the slight differences in their voices especially the last little girl that says hey. The first time through there’s barely any voice, and they didn’t even fix it. Kind of funny. Also, strange is that last moment is muted, which is strange since it’s the most memorable.

#me #16mm film #16mm #schoolhouse rock

[eviltext]

[Song Analysis] : PinocchioP - Apocalypse Now feat. Hatsune Miku

"Haha, what a wicked and ironic comment bro. Now try saying someting true and beautiful." - Tage Erlinger, 2022

PinocchioP's newest work, released on 18.08.2023, "Apocalypse Now" is at first glance nothing out of the ordinary for his style. And it isn't! We know and love him for cutesy-dark imagery with depressing yet distinctly humanist and hopeful lyrics, and this song delivers on that.

I gave the song an initial listen through without english subtitles (which were readily available! presumably more languages to come) to get a general feel for the sound of the song itself and how it works with the mv. I ended up really enjoying the song! The sound is poppy and light, albeit prefaced with a heavy and ominous opening note. It continues with a dark-ish verse contrasted with a catchy chorus, the cong cycling through the two in the usual fashion where the vocals sound anxious, tired and judgy at different points (but nevertheless, hopeful, as it is characteristic for PinocchioP). Visually the mv is. Something? As usual all illustration, animation and videography is provided by PinocchioP himself (INSANE FOR THAT). He's really good at capturing the song's demonic backdrop - red/black/white colors, crosses, Miku's outfit, etc - and how it contrasts with the sound. Apart from zoom-ins, expression changes and an alternate lighting scenario (and some cuts to aimaina-chan), most of the movement in the mv is achieved through glitching or flashing effects. Not thrilled about that. Overall it's a solid sounding song with a suitable accompanying mv.

Moving on to the actual lyrical content!

First lines set the stage and i feel talk about that mix of fascination, indifference and disgust people commonly feel about the way things are with dating culture these days in hell. The song is set in Hell. And being sung from the perspective of a local. (Or set on earth during the apocalypse, which would make more sense).

Next we're pretty openly discussing the root conflict in the song. The narrator judges (the pressure to keep up with) modern hookup culture in contrast to the "exemplary" (pure and sincere) first love is pushed aside.

The third couplet further elaborates on the coercive nature of this cultural phenomenon. Perhaps, it's more radical to stay sober and have the guts to refuse this?

We got to the chorus! Note how something generally well-received and well-loved like fireworks is used as a negative way to describe the way senseless lust and promiscuity clouds judgement to the point of nausea. Turns out not everyone likes fireworks! They can also be a huge source of distress (just like the flashing and glitching fx! which people could've used a warning for!! just saying!!!). To offset this, the narrator proposes a more chaste form of affection, a hug. In the seventh line is a lament about the soulless nature of a one-night stand <- which is implied to be the norm in hell, and how the narrator would much prefer to relish in the mundane.

The next couplet is a treat! We start off with critisizing pickup culture AND using AI as a negative comparison, it's then compared to an endless chase for a (sugar) high. The next lines directly admonish the viewer/listener for discarding partners for exhibing jealousy (framed as a distinctly human characteristic - i have complex feelings on that) and shaking them off with a half-assed "this is getting old, we're done!". As an alternative, the narrator proposes thinking more deeply about initiating a relationship in the first place.

The narrator is met with scrutiny for using more romantic/flowery tactics. We then get a tiny glimpse into the deeper effect of this painfully complex game of dating - trust issues. Of course people will lose their trust if they constantly have to second-guess everything! Perhaps it's a better (albeit uncommon, allegedly) move to stay sincere and true to your cringey romantic feelings?

Oh, we got asked on an abstinent beach date! This variation of the chorus is a bit more loose and atmospheric. Repeating the fireworks and hugging lines from before, the narrator is possibly being self-aware in how crazy that hug proposal was in the context of Hookup Hell ("That's fucked up!")

In the final couplet we get a new metaphor with muddy streams (fast, dirty, easy to be swept away, there's a lot of them, they appear and disappear quickly). The final lines are hopeful for the narrator's own principles and beliefs, yet sober in knowing these beliefs will continue to be abnormal in their culture for a while.

tl;dr

In short, i like this song! It criticizes modern hookup + pickup culture and elevates sincerity and romance. The radical-rebel-sincere-romance-devil against a no-strings-attached majority in hell serves a fun backdrop to this discussion. The message has bit of a middle-aged perspective, but it stands nonetheless! However, personally, i think it's a false dichotomy. It's possible to have a sincere relationship lasting one night only, as it is to be chaste, romantic and insincere about the whole thing.

Well, that's all i have to say about this song! This was my first serious deep dive into a song, so let me know if you have any feedback! I'll also be happy to hear if you noticed anything in the song i didn't catch!

#mp4 #flashing #<- in the video #vsynth #pinocchiop #vocaloid analysis #apocalypse now #miku #not proofreading. if it's meant to be there it's meant to be there. fuck it we ball etc #Youtube #p #longpost

[gubbles-owo]

not to be all adhd but the raw sound from the first several seconds of this video of monologue (another old cubase vst) shook me to my core at such a magnitude that i immediately had to try recreating it in what i guess is somewhat of its modern successor, retrologue

it's not exactly 1:1 but it's the closest i could get with some fiddling. some of the routing on this old interface is unclear (what is the LFO depth control on osc 2 actually affecting??) and other bits have significantly less parameters to tweak (mainly the chorus fx). i still feel the original has this grit to it that i can't seem to recreate here. here's the retrologue settings for the 0% of people reading this post that own cubase who wanna recreate the same thing

anyway it is 5-fuckimg-AM i am crawling into bed

[la0hu]

rock-star thoughts

megaverse: really full production with fun sound fx, love the shouted "stray kids" in the chorus, also all the samples being strained to sound like sirens in the background are really good; prechorus is too fancy, i always like it more when they pare things down more. imo better than their title track. outro is very messy and too short. 7.5/10

lalalala: sounds like an ateez b-side and looks like one too, from the mv. they went a little normie with the musical style for this one? and that's why it's not very good... imo definitely one of their worst title tracks. choreo looks good tho. 3.5/10

lalalala rock version: way better than the normal version wtf... they should've used this one instead??? 7/10

blind spot: omg it sounds like all-american rejects/snow patrol kinda? i'm a fan of the general vibe. main chorus is boring, but post-chorus is so good in a gym class heroes sort of way. final chorus slow-down is so corny but i loooove it actually.. wait the claps are too much tho. 6/10

comflex: wow lee know's voice sounds good... JEONGIN JUST SAID SHIT??? oh my god chorus anti-drop and lyrics suck so hard oh god i'm gonna die. chan shut UP PLEASE!!! lmao changbin chorus is so funny.. felix chorus is SO FUNNY LKNSDFL and so is the "hmm" moan part. 8.5/10 this is the stray kids shit i signed up for

cover me: felix upper register aww... i hate slow songs. this one is pretty though, and not unlistenable like youtiful was. might grow on me. 5/10

leave: somehow reminding me of 00's boy band vibes in a nice way? i think it's the guitar mixing. super catchy chorus. a little plain but very pleasant song overall. 6/10

overall thoughts: i think they chose lalalala as title track just so they had a big performance track for the end-of-the-year shows, even though it's clearly worse than megaverse. a little bit of a throwaway album, since it won't qualify them for MAMA (similar status for maxident too).

#p #skz

[pheadhones]

it makes me a certain flavor of furious when I remember the way jhs gets basic information about Crock pedals wrong in its “shameless clones” video. not only does he do Crock a disservice but he goes on to act confused at a stereo chorus with a single 1/4” output, wondering out loud how it could possibly do a stereo effect with only one output. did no single person at that entire fucking company remind that idiot that trs cables and stereo fx returns exist?

#i had to block them on insta because of how annoying and frequent their ads were

[cyberloops]

So I bought a decent multi-effects pedal after I got the new bass. Basically the bass version of the one I had for my guitar.

But then I kinda went down the rabbit hole of cheap, affordable pedals and decided to waste a few bucks on the cheapest of cheap multi-effects pedals that I could find. I narrowed it down to three options, and decided to go with the Donner Multi-Pad100. Partly because the reviewers I saw were all pleasantly surprised. Mostly because it's shaped like an SNES controller, and I'm easily influenced.

This is what it looks like compared to an 8bitdo SNES gamepad replica. It's a little wider, and it's a chunky boi. It has to be to fit a 9 volt battery inside for when you don't have access to an outlet or a USB charger.

I started it out with a tremelo effect, mixed with some heavy reverb and light delay. Then I switched from tremelo to a heavy chorus effect at the end. It's pretty easy to use. The dials on the right control the basic effects, the dials on the left control an amp emulator to try and make it sound like you're running your guitar through one of several classic amps that would probably cost more than my monthly paychecks to buy in real life.

The build quality is kinda crap, I could barely get my headphones to plug into it. But the sound quality is... not bad? Maybe even slightly good? This is me playing a sub-200 dollar electric guitar through a 50 dollar multi-effects pedal and recording it directly into my computer. After only poking around with this pedal for a few minutes. Just long enough to figure out how to make the built-in drum machine work for backing.

It also has a clip on the back, so if I wanted to literally clip it to my belt or my guitar strap while I'm playing, I totally could.

As for the guitar I used, my guitar is a Dean EVO XM that I've had for... twelve? Maybe thirteen years now. I'm pretty sure that's literally their cheapest model. And I bought it right when they dropped the price, whenever that was. (I suppose I could look up when the price dropped to figure out exactly when I bought it.) There are knockoff no-name-brand guitars out there that are more expensive.

So yeah. For this thanksgiving, I think I'm thankful that we live in a world where a cheapskate like me can still get my hands on musical instruments and equipment to keep making music, even I've only got a part-time job.

If anyone is curious, the other two that I was debating getting were the Mooer PE100, which usually costs around 90 bucks but was on sale for 60 bucks while I was looking. It has more features and is definitely worth more, but the way it worked was basically the same as my nicer Zoom G1X pedal that I already have, so I decided there was no point in just getting a cheaper, crappier version of something that I already have. And the other alternative was the Cube Baby. Which apparently isn't sold under the name of the company that makes it, they basically just license it out to other companies who can brand it themselves, so there's like 5 different branded versions of it on Amazon. And it seemed nifty, and maybe even a little better in some ways than the one I got. But I looked at a whole bunch of reviews while things were slow at work, and eventually made my decision. For better or for worse.

#jam #jam session #guitar #guitar jam #cheap instruments #low budget music #low budget jam #donner multi-pad100 #dean evo #dean evo xm #pleasant surprises #happy thanksgiving

[leviathancries]

FAKEVOX

[Plus-Tech Squeeze Box] (2000)

Plus-Tech are a Japanese Picopop trio (They are a trio, not a duo. Wikipedia is WRONG!!!) who are known for their off the wall music and lively sound.

Plus-Tech Squeeze Box's first album, released in 2000. 'FAKEVOX' is all over the place, It's a kid who cant sit still. Full of wonder and life. High-pitched sounds and upbeat melodies are the backbone of this album. If this Album was food it would be a strawberry sundae. It's hyper sweet, cute and feels like a sugar rush.

(also on a side note. I have noticed that Plus-Tech have been featured a lot in British stuff, for example they have been on the BBC quite a few times and featured in a British Coca-Cola ad. Just thought that was interesting....) anyway on with the review.

Track 1: Channel No.17

"What time is it?!"

Plus-Tech really sets the tone of the album with this intro track. You are hit with all sorts of sounds from VOX samples to bowling balls and carnival sounds. It's fast and alive.

Track 2: early RISER

"Bouncy!"

Track 2 is quintessential 2000's hyper J-pop. This song reminds me so much of the Jet-Set Radio OST and I love it. Plus-Tech create super catchy ear worm songs that play on loop in your mind all day. It's so upbeat you can't even be annoyed at it.

Track 3: A Day In The Radio

"I'm a plus-tech girl friend!"

Track three is more vocal based letting Kamada sing. This is another cute song you can't possibly feel mad when listening to.

Track 4: Test Room

"1,2,3,4. Plus-Tech!"

Test Room is a super bright song. It's fast, lively and experimental. The vocal chop in this song carry it a long way. It's just so satisfyingly to listen to lol.

Track 5: rocket coaster

"Rocket coaster! la, la, la, la-la."

Track 5 is Plus-Tech's most popular track for a reason. It's definitely their most accessible song by far for a normal audience. It's got a nice duet going on, a catchy chorus and a light rock instrumental. Really sweet and cute song.

Track 6: Scene1 - launch a spaceship into space →

Track six is an interlude following the space theme of the album.

Track 7: ☆

"Have you ever met a great astronaut?"

Track six takes us right back into the cutesy vibe with an instrumental that wouldn't be out of place on a Frenesi album, especially with those tom drums and pluck-y melody.

Track 8: White Drops 

"fantastic..."

Man, White Drops. This song will always have a special place in my heart. I really do love this song. It's so nostalgic to me. It's so simple yet so affective, It's upbeat, endearing and... idk cozy?

Track 9: MILK TEA

"しまうのさー”

Milk tea is an other nostalgic song for me as I used to listen to it a lot. It's got guitar, synths, vocals and bleeps n bloops. what more can you ask for in a song to be honest?

Track 10: Scene2 - citybilly lived happily after

"BEEEWOOP! FUNNY GUITAR!"

Lots of sounds and a guitar. This song is like if you were at a fair on many, many substances.

Track 11: Sneaker Song!

"Why don't you tell me? hey! you're little rascal!"

Sneaker song goes right back to the hyper sound that the rest of the album follows. Lots of bleeps and gated sounds. This song has more of a pop-rock guitar lean though.

Track 12: ​clover

"いつのまにか降り止んだ雨"

Clover is a great outro because it changes the vibe of the album completely. It is the complete opposite of the rest of the album taking on a more melancholy down-tempo tone. A lot less vocal processing and FX. But the a happy sounding melody comes in creating a bitter sweet end to the album. This song reminds me of looking through old photos. Sad it's over, glad it happened.

Overview: FAKEVOX

FAKEVOX is a great introduction to hyper J-pop and Picopop, if any of this sounds interesting to you I highly recommend this album. It's sugary sweet with a lot of life to it.

Rating: 7.5/10

If there’s any typos or inconsistencies in this review it’s because I can’t be bothered to proof read it.

#music #music review #fakevox #plush-tech squeeze box #jpop #picopop

[manysmallhands]

FearOfMu21c #25

Mercury Girls - Ariana

Released - May 20 2016

Did Not Chart

Spotify streams to date - 48,925

My favourite genre thru the mid 10s was this kinda-sorta-indiepop and Mercury Girls were amongst the very best of those groups. They were a power pop band of sorts but without the slickness that the term usually suggests to me; instead, they were full of the sweet-toothed charm that the DiY scene had in spades during that era. I come and go with this stuff a bit these days - my reduced tolerance for it has been in conflict with nostalgia throughout the selection process and as a result the cutting room floor has ended up covered with an awful lot of DiY indie singles. However, this is one that I really can’t let go: there is very little that sounds as wonderful as Ariana.

In essence it’s a breezy guitar pop tune, where the force of its hooks and Sarah Schimeneck’s gentle but spirited vocal do the main heavy lifting. But the dynamics play a huge role here too: there’s something particularly wonderful in the way that its vibe can turn in a second, like the moment where Sarah sings “this is the scene where I’m gonna leave you” and there’s a sudden wistfulness as her voice drops out, or the extraordinary drama of the chorus that follows that's somehow heightened by its lyrics being nothing more than “Oooooh, woah woah!”. There’s a constant sense throughout of something ever more glorious just around the corner and it’s a payoff that the song never fails to deliver on. 

With all of its bustling excitement and FX laden wig-outs, Ariana rocks surprisingly hard, but it never forgets the importance of a tune you can whistle and neither does it skimp on the combination of joy and melancholy that indiepop has always thrived on. Aside from this single, Mercury Girls released just two more songs and a demo tape, but the few that they left behind remain in heavy rotation to this day. Ariana is one of their very best.

#10s music #fearofmu21c #pop #indiepop #Mercury Girls #Youtube

[melit0n]

So...maybe I got a bit hyper focused on all the FX Sleep Token uses in their songs. Other than one that I already pointed out (Vore) having listened to a couple of other songs, I realised they do this a lot. Hope these make sense!

Part One includes: One, Two, Jaws and TWTYW (below the cut!)

Part Two -> Sundowning and This Place Will Become Your Tomb

Part Three -> Take Me Back To Eden

+ If I've missed something, feel free to add your own thoughts!

Note- some of these are FX, others are sound mixing and music bits I wanted to mention. Any song you don't see mentioned are songs that I couldn't find anything to pull out of them.

Thread The Needle

- Throughout almost the whole song (cutting off at some points during the breakdown and chorus) there is a soft humming, that sticks to one note the entire time (which I believe is a B note? Don't quote me on that lol).

- At 2:04 to 2:30, and then reappearing at 3:46 to 4:06, there are notes that mimic a calm heartbeat. Which, considering the lyrics at this point are "We can spend the night in" and "Just look and where we're lying", it creates the image of lying with a lover, with your ear pressed against their chest. It makes the song feel personal, in my eyes. It also creates quite a distraught feeling when the heavy breakdowns follow immediately after.

When the Bough Breaks

- At about 5:40, a chord starts up that sounds like a muffled bell tolling, which, considering this song can be interpreted as how love, especially the toxic kind, can bring you pass the point of no return, with a willingness to be in pain for the relationship to continue, suggests an end to it all. A bad one.

- Just gonna slip in a quick compliment to Vessel's beautiful falsetto and head voice vocals in this one!

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Album Notes: To me, this whole album feels sleepy. Like, as a listener, I feel like I'm in that odd inbetween of awake and asleep. It's the same in Two, but much lesser so in their later albums. The songs use very minimal instruments; basically just sticking to synths and beats other than the breakdowns. And, speaking of breakdowns, they're kind of like the wake-up call to the song. You can live in blissful peace, lay in your lover's arms as you slowly fall asleep, gift compliments back and forth to eachother, but it all ends. Everything is nothing in the face of this ancient deity. I heard someone describe the Sleep Token albums as the five stages of grief, and I can definitely see that. Definitely denial.

Calcutta

- From 0:00 to 0:20, there is a very hard to hear, high pitched clinking noise (I suggest putting on headphones if you wanna hear this one!), which almost sounds like the clinking of two glasses.

- From 5:25 to the end of the song, you can hear Vessel using his head voice! I thought it was an instrument at first, but it's just him having a lil' scream. I want to say it's a muffled whistle scream, but it's not croaky enough to be one from what I can hear, so I'll just say it's some vocalisations. What I can be sure of, is that he sounds like a Banshee and I live for it.

Nazareth

- At 2:38 to 3:10, a very simple beat comes in, along with a bunch of other muffled beats that bounce around if you have headphones on, which, having spoken to my friend, she says sounds a lot like a deeper pitched gunshot (which I said she's just pulling at strings, but I'll put it in either way) being mimicked by a drum beat. Considering the lyrics around this time, it's fitting.

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Album Notes: Similar with One, Two also uses the minimal amount instruments, other than the breakdowns, but they use backing vocals a bit more in this album, especially with Nazareth and certain parts of Jericho. To me, this one feels a lot more angry. Not towards a person, perhaps, but more so towards Vessel himself (which is mainly shown in the lyrics). If we're still rolling with that five stages of grief, then I can definitely see this as anger.

Jaws (Single)

- The (what I think is distorted crash cymbal or just a cymbal) noises from 0:00 to 1:45 kind of sound like when you knash your teeth together.

- Just wanted to note the absolutely lovely lyric that is "Stand under the stained glass and, I will know it's you."

Personal Notes: One of the first songs that got me into Sleep Token, so, it holds a special place in my heart. Will never not swoon at "Show me those pretty white jaws, show me where the delicate stops".

The Way That You Were (Single)

- There is (obviously) the organ the resonates throughout the entire song, which, in some chords, mimics the typical Church Wedding song (Here Comes the Bride). By association, when people thing of organs, they think of Church, and, therefore, Weddings and funerals. To me, it makes the song a whole double edged sword (especially with the lyrics being asking someone about their inner pain, how they can fix it etc.). In the end, did this end in joy, or death?

Personal Notes: By far my favourite single. Comfort song all the way. Despite it being my favourite, it will always hold a bit of an unsettling undertone for me.

Thank you for reading through all my thoughts and feelings, whoever you are. Remember, the night belongs to you; worship <3.

#Jeeze Louise this took a long time #I got to sit down for a solid hour once every week and just listen to Sleep Token so that was pretty good #tiring but good #I feel like in some of these I'm pulling at yarn but I hope they get through to you guys #you guys being whoever reads through my rambles #sleep token #st #song analysis #sometimes lyric analysis #just a lot of analysis #and thoughts and feelings #can you tell I've hyperfixated on this band yet? #sleep token vessel #vessel #one #two #jaws (song) #the way that you were #mel's rambles