HOW TO COUNT 'Combustion' by Meshuggah
ฝัง
- เผยแพร่เมื่อ 11 ม.ค. 2021
- Time Consuming Ep #30: Today I'll discuss Combtion by Meshuggah. This song is sooooo cool! The counting here isn't obvious, and honestly I still hear it the "wrong" way.
This song can be heard in it's entirety in two different ways, and in this video I breakdown how Meshuggah did that!
JOIN MY PATREON!
I've finally launched an account there and I'd me more than happy to see you guys there.
/ yogevgabay
Join my mailing list! I'll be sending these to you right when they're ready.
mailchi.mp/83616c42c9ea/yogev...
Spotify playlists:
The "Time Consuming" playlist has all songs covered in the channel.
open.spotify.com/playlist/63v...
The "Time Consuming Suggestions" playlist has all the suggestions I got from you guys in the comments, plus a bunch of options I've put in.
Some of them may not have polyrhythms, and I'll delete them slowly once I go over it all!
open.spotify.com/playlist/064...
This video is obviously just the beginning of this concept, and there's a lot more to it. If you'd want to dive deeper, feel free to contact me at gabayyogev@gmail.com
'Combustion' original song:
• Combustion
HUGE HUGE thanks to the amazing Sharon Renold for all the help in production, after effects, thumbnails and being awesome.
And lastly, HUGE thanks to Omer Gabay, my brother, for all the tremendous production help!
If you have recommendations for songs for this channel, send them over!
gabayyogev@gmail.com
Thanks for watching, Yogev
Instagram: @yogev.gabay.haorginal
www.yogevgabay.com
Intro by Sharon Renold (@sharonrenold on Instagram) and myself
Intro music by Shwesmo (@shwesmo on Instagram)
#musiceducation #polyrhythms #meshuggah - เพลง
"Meshuggah is the only band where 3 people headbang at different speeds to the same song and none of them is off-rhythm."
Well most, if not all, of Meshuggah's songs are in 4/4, so I guess these people are more into the energy of the music than anything else. To each their own.
@@straazz 4/4 is a unit of measure, nothing more. Be careful not to think that conventions are rules. Any song can be written in 4/4, but songs conventionally in 3/4 would look messy and unnecessarily confusing in 4/4.
@@niemand262 I agree with you to an extent. Conventions are not rules. However, they are conventions for a reason - they often make more sense than not. In other words, they are useful.
Look, I'm all for breaking conventions and doing your own thing, but whenever I see someone headbang or snap their fingers or tap their foot at a pulse that is clearly not aligned with what was clearly the intension when writing the song, it sort of confirms that past a certain point of complexity people hear and percieve music in two different ways. One of them is conventional, the other is a compromise.
What do I mean by compromise? Well, in order for the song to start on the downbeat, everything else needs to shift, arguably the most in the half (quarter) time part. Both the cymbals keeping the pulse and the upbeat snare would be off beat. Makes less sense than counting conventionally for those who can in fact hear the song that way.
But that's not to say that compromising isn't useful. It allows those who cannot hear the conventional pulse to enjoy the music in their own way.
So, like I said, to each their own.
(But I AM right tho. Pulse and perceived pulse are two different things. Why would the drummer count in on the hihats off the frikkin beat like no one has done ever?)
@@straazz I can literally name 10 songs off the top of my head that count in with an offbeat pulse.
This is math metal, bro; there are various Meshuggah songs that are not in 4/4 for long periods of time, like, oh I dunno, their most famous song, Bleed.
Your rationale is really...odd, man. You seem obsessed with dividing people into these two different camps, and you also like to place one of those at a lesser point than the other.
If you've seen bands like Meshuggah, Periphery, Animals as Leaders, Dillinger, etc., live and in person, you'd see them very often nodding their heads side to side to keep with the off-kilter pulse of the music (the music THEY wrote, by the way) because feeling this over-simplified 'conventional' pulse as you call it explicitly doesn't work for their music.
Go listen to Bleed, and you'll perfectly understand how it is you can feel a song in multiple different rhythmic pulses and not be out to lunch no matter which rhythm you choose.
@@TeeJayLars look, i even made feeling the music in different ways a point in my argument.. to each their own, bud. As far as Periphery banging their heads not on the beat seems more of a theatrical accent thing imo, but I could be wrong.
And as for Bleed: apart from a single measure of 2/4 (the single guitar lead in to the 2nd verse), the entire song is in 4/4. Haven't listened to it in a while, tho. And even that single 2/4 measure is not to character.
Bleed, as well as a myriad of other progressive metal songs, comprise of repeating one or a few ostinatos that have odd meter lengths, giving the music an off kilter feel, which you of course seem familiar with. The opening to New millenium cyanide christ is a prime example of this.
Future breed machine is however one of the very few songs that aren't in 4/4 all the way through. One part is in frikkin 13/8, which is pretty cool. It's the solo part. DEI is probably the more "out there" album in terms of measure and pulse.
Look, I could go on, but it's late. If you wanna bang your head to 3/16 or 5/16 in Bleed because that's how you feel the music, go ahead. I'll keep my 4/4 thanks. Music will more or less be the same, but my neck will be better off in the end.
Peace
Meshuggah be like: imma gonna do the hardest simple shit ever.
exactly
Yes, perfect way of putting it. I realized that Dancers to a Discordant system was a 4/4 headbanger like weeks after listening to Obzen non-stop and I had been a massive fan for years at that point. They still fuck me up.
they could have used only 0s. so its not simple enough
@@SoilentGr33n technically, "Dancers" is 12/8, but you're mostly right because you can think of 12/8 as 4/4 with a triplet feel.
@@bryciferal Yes sir. That's how I interpret it because it feels like the triplet guitars are unfurling or rolling over the drums. It has that machine-like feel to it.
I never thought I'd need a tutorial on how to listen to a song.
🤣so true
Welcome to Meshuggah
Meshuggah...
You must be new to Meshuggah.
fuckin hell youre a dude?!Do something about that will ya...Grow some beard.
Can you break down "I" and explain it to Meshuggah, so they can start playing it live? Asking for a friend (Meshuggah).
this aged like fine wine
@@officialrhythmicthoughts ?
@@snared_th-cam.com/video/QnUb3roNcdo/w-d-xo.html
Check out Sam Mooradian's version of the song. He's the only artist I know of so far that's been able to do it. That drum pattern in the middle of the song I'm still trying to get, 6 years after my first listen.
A big video on meshuggah sounds like the best thing to have ever graced mankind.
I'll take that as a yes
@@YogevGabay I would happily give my right arm to the prospect of you doing a long meshuggah video. And why stop at one video? Do all of them. ALL THE VIDEOS :D
Yes PLEASE
@@YogevGabay The Faster the better
Checkout daniel crawford's meshuggah videos!
I don't know why, but the visuals of you tapping the instruments is incredibly helpful. I also just like the aesthetic. This is a really great video, thanks for making it. :)
Because listening for the sounds and trying to visualize what’s happening is not as easy as when someone else does the visualizing for you.
seriously, it's one of the most useful things I didn't realize I needed until seeing it
As a guitarist I'll always hear Version 1.
The intro riff fits perfectly into a 4/4 bar and my brain just sticks to that. The riff after the repeated intro has some ties between bars, but it still fits that pattern and I'm kinda used to this.
I always recognized the off-beat drum hits, but they just sounded groovy and didn't distract me at all. I could bang to this version all day without missing a beat.
I totally see the logic behind Version 2 though. It explains what's up with that hi-hat at the beginning, but even with a metronome I find it somewhat difficult to follow.
Right there with you! If the intro is counted in 8th notes the hats fall on the 'and' beat up until the 4 count before everything comes in. The remainder of the track feels natural counting with either a 4th or 8th pulse from a guitarist perspective.
It definitely is 4/4 messing with accents, I think Spirits in the Material World or even Pyramid Song are much harder to count
Yes those two are particularly weird once you hear them a certain way!
In the live version (ophidian Trek), they use the hi hat intro on dawn beat. In fact Is the versión 1.
Nah mate version 2. The hats are in between like on the studio recording
Let's play a game:
Audience: "Where's the one?"
Meshuggah: "Yes."
Yogev: "I asume it's here, but I prefer it being there."
This is the best explanation of the Combustion phenomenon I've ever seen.
People don't give the usual "Meshuggah genius" credit to this song exactly because of how well disguised the rhythm is.
It's right beneath your nose. Paradoxal in the most Meshuggah way. AMAZING video Yogev!!!
Exactly! no groupings or any regular polyrhythm, just a committed take to this epic concept.
João, hello again my friend, we be watchin' the same videos it seems :D
Agreed
spot on!
yeah, a 16th note pick up never occurred to me since most (pop and rock) music doesn't do pick ups on any subdivision smaller than maybe an 8th note.
I know this is a year late but I have to mention that your method of breaking down this song is approaching genius in my book. Impressive
Dude, even if you're a decade late, it's always great to read comments like this! Thanks!
I'm feeling proud now that I, as a guitar player, instinctively started counting like version 2. That 16th note is what makes this song so juicy.
Ohhhhhhhh niceeeeeee
I love this video. Never checked out Meshuggah before, but this got me curious
Oh if you're into awesome polyrhythms and don't mind people screaming at you, Meshuggah is GOLD
You literally missed most discussed metal group of 2010s lol. They are amazing man, you won't regret even if you don't like
@@serhafiye7046 100% true
These djentlemen started a genre.
They’re deadly. Drove across Canada with this album on repeat lmao
I've definetly always heard the first version, even though I never sat down breaking it down. I'd say that from a headbang point of view (which is always the correct one :D ) it comes more natural.
hahahahah best perspective ever
I heard it both ways, Version1 at the guitar intro, but Version 2 when the intro riff is isolated halfway through the song. Very trippy
Always love how the first lyrics to this song are: "No more ifs, no bias, no ambiguity
No wondering whether this is it". Fits so well with the confusion caused by the intro.
Means they are a funny bunch after all.
If you want a deeper dive into Meshuggah's "word painting" (ie. when the music itself "matches" the lyrics in some way), check this out:
mtosmt.org/issues/mto.18.24.3/mto.18.24.3.lucas.html
Here's the most interesting/relevant bit. The writing itself is hyperverbose academic nonsense, but what it's actually saying is beautiful.
----
Though Walser’s context for his claim is the “freedom” of wild guitar solos arising out of the “control” of the rhythm section, I believe Meshuggah’s riff/structure struggle, which is almost always resolved in favor of the structure, proceeds from this same artistic instinct. With song lyrics often centered on the desire for or achievement of radical freedom from invasive, oppressive, and deceptive systems, and musical patterns that ritualize the suppression of elements that break the “order” of 4/4, it seems the formal organization of Meshuggah’s music explores ideas of freedom and rigid control, liveliness, and predictability. Just as their manipulations of rhythm exhibit competing realities-one of which exerts control over the other-the texts that Jens Kidman screams often deal with competing realities, and the struggle to either escape a malicious one or discover what is truly real. Take, for example, these lines from “Pineal Gland Optics:”
Unbound this new vision, optical regenesis
Threatening, so complete in beautiful deformity
Cast off - the concealing veil, the rational cloak of doubt
Torn off - the restraints, the blinded’s shackles
Burned away - the agony, the fear, the grief
A new set of eyes cleansed by a new belief
Here, the text centers on the narrator’s discovery of a perceived truth, in an experience akin to receiving new eyes. The event is life-altering, and brings the subject a heretofore unknown freedom, a reality that is “complete in beautiful deformity.” This lyric remarks on the compatibility of deformity and aesthetic pleasure. Joseph Straus’ study of concepts of disability in music theory notes that, “musical works often benefit aesthetically from the presence of formal deformations and abnormalities, tonal problems with their attendant imbalance and unrest, and dissonances requiring normalization.” I believe that Meshuggah’s treatment of competing rhythmic strata qualifies for consideration through this lens. The riff struggles to deform the structure, and the structure normalizes the riff, forming boundaries for its excursions and bringing to mind the normative social forces applied to human bodies in everyday life. While Meshuggah’s music does not encode disability per se, analyses of it that employ metaphors involving (a)symmetries and formal “containers” whose boundaries are at risk of perforation, draw on a history of analytical devices that are “unpleasant in [their] unexamined assumption that our bodies and our bodily experiences are all the same”; the varied expressions of embodied rhythmic engagement by the moshers and nerds at the concert highlight the absurdity of this assumption. Meshuggah’s use of rotated riffs that threaten the stability of the larger structure reflects on the liveliness and aesthetic pleasure of difference, as well as the competing comfort of regularity and predictability, in this case perfectly represented by 4/4, with all its attendant history and significance for Western music. “Pineal Gland Optics” and “Pravus” (whose lyrics contemplate the inescapable inevitability of suffering, violence and death: “By the poisoned nails of history stung. . .the blades of hurt inexhaustibly swung”), by playing with the temporal signification of rhythmic grouping, offer yet another way of hearing the encounter between norm and aberration, conformity and rebellion.
"These guys don't strike me as the funniest bunch"
*flashbacks of New Millennium Cyanide Christ music video*
Also, great video, quite easy for non-music-theorizers to understand what's going on and follow along (especially when you play the beat with your fingers)! And great production value too. Amazing how even small TH-cam channel nowadays look like pros.
If you're going for a Messhugah compilation, please PLEASE take a look at Fredrik Thordenal's Sol Niger Within (either the album or the five minutes song), it's a fucking mess in terms of rhythm and melody - a glorious hellscape.
Will check it out, thanks man!
Used to listen to that quite a bit in high school when I was chillin with my metal / weird music fan classmates! Really unique piece!
Sol Niger Within is a masterpiece and was way ahead of its time. Really hope we finally see the follow up!
Yes, Sol Niger Within pleeeaaazzzeee!
@@franlovelsimic8421 The solo on Sol Niger Within is mind blowing.
Dude, as a drummer of 28 years this was an absolutely brilliant explanation of the timing.
I def would like a big vid on meshuggah. Tbh stuff on Catch 33 would be great
In death is death!
Bump
Catch 33 for sure!
or Nothing!
Catch Thirtythree is actually quite simple for Meshuggah during most of it. Just varying meters over 4/4. For example the opening is 3/8 9/8 9/8 9/8 2/8, but the drums carry a 4/4 underneath.
I think any analysis of Dancers To A Discordant System would make the world a better place!
Thank you for making these videos! I've been searching for this kind of stuff for years, and have just been charting things out myself.
Glad you like them! and "Dancers" my be one of my favorite Meshuggah songs ever.
Dancers is one of my favourites too, and I've already started holding my breath that you'll dissect it. Don't let us down!
Agree. I want Dancers analysis too!
Yes please, Dancers is my fav ever from Meshuggah
I can't wait for Straws Pulled at Random. This one always stood out for me, the word "beautiful" comes to mind when I am listening to it
Yep, Straws contains one of the only - if not *the* only - "positive" or major-sounding sequence, specifically the solo. I think there might be something vaguely major on Immutable. But maybe not.
your accent sounds a lot like electroBOOM, love it!
A Meshuggah special ep would be killer
also for the life of me i can't hear version 2, even with the metronome. it's like how i can't see the dress as black and blue even if i try.
It's a very similar phenomenon
I have the same "problem". I really wish i could hear the second version. I think it would help playing it slower with that metronome.
@@Lenias7 i found a really nice drum cover where the drummer actually plays a beat that sounds like the second version, but when you come back to the original it's still hard to hear.
I had the same problem with Metallica's "Battery" and "Blackened" where the snare keeps becoming the down beat in my head, simply because Lars doesn't really emphasize the kicks in those thrash sections. Not a criticism of Lars or Metallica, just how my brain interpreted those songs. Either way, music is fun. 😊
It’s a lot easier to hear it live than it is from the album because of the drum mixing, imo. I also had to loop it a LOT to really understand it when I covered it, but every time I saw them perform it live, it made a lot more sense.
I only hear version 1, maybe with TIME I will hear version 2.
It's so great how the way they play with timing creates more than 1 song for every song they write
I've literally been trying for years to hear it like version 2 (the correct one imo), but the initial riff is the only part that refuses to play correctly in my head. I think I'm almost there with the help of this video, specially the part beginning at 7:00. Awesome job, dude!
Happy it helped!
Gabriel I'm in the same boat as you! Although I find it a bit easier to find that version 2 feel when the vocals kick in, if that makes any sense?
Hell yes on more meshuggah videos. How about a whole month of Meshuggah content? Like Marchuggah or Mayshuggah
OMG that's an epic idea hahahahaha
"Mayshuggah" certainly rolls off the tongue more naturally, to me (plus it gives more time to prepare!) 👍
@@SeanD313 yeah, that was my original thoughts but I also want it to be earlier so I added March lol
Decembahshuggah
Meshaugust
Yes, please! Millions of Meshuggah-Songs!!!
While listening in "version 2" i got some kind of anxiety and i was holding my breath... holy Meshuggah. Thanks for the great explanatory vid!
I always heard it as version 1. This is so well made, to visually describe audio. Should have more views. Great work.
Glad you like it!
Ive always heard the high hat shifted an will keep doing so. the video gave a cool new perspective on the song
Where has your channel been my entire life?!?!?! Your content is the most creative and useful I have ever come across. Keep going, this will 100% blow up. Thank you for your amazing analysis.
Wow, thank you!
It took me 8 years to count the song properly - 7 or those 8 years, I knew I was listening to it wrong and tried to hear it right, and couldn't! What a delightful puzzle. Excellent video
Meshuggah is a big riddle to solve in every track! Great video...
I'd like to see Clockworks decomposition 🌝
In my entire life I've never seen such an interesting way to convey song timing. The way you use the combination of visual and audio cues is excellent. Great work!
Version 1: insane head banging
Version 2: groooooooovy
It’s just real fun to hear someone say: I’ve listened to this song wrong for years
I have always heard version 1, but this video opened up version 2 to me and I can't stop hearing it anymore! Such a groovy piece!
You should try and dissect what's going on musically in a Car Bomb song. Warning: this task might be impossible as time seizes to exist in the Car Bomb dimension of our universe.
hahahahaha yeah looking for the right song
@@YogevGabay I’d love a breakdown of the intro to Lights Out, that song is insane
@@YogevGabay HeLa has some really cool stuff going on in the verse. Sounds like a shuffle at first, and then it's... not. Some kind of nested quintuplet thing.
@@YogevGabay Check out the song "Dissect Yourself!" Has an awesome breakdown and I think a quintuplet time change in the beginning.
@@davidfuller581 yup they treat the subdivisions (quintuplets) as 10/8 chopped in half. The pulse being on beat one and beat 6 of the 10. Basically a super fucked halftime 4/4 groove. Then the riff is grouping of three quintuplets that phase.
Brilliant vid Yogev! Concise and digestible. Can't wait to see more!
Awesome! Love to see meshuggah vids. Keep em coming please!
These breakdowns are incredible! Keep them coming please.
well obviously he will and doesnt need our asking XD
Jeezus. Trying to wrap my head around this woke me up more than my coffee. I love the visuals for the explanation! Would love more Meshuggah.
Brilliant explanation. Terrific vid. Keep these coming.
So much good stuff on your spotify playlist - thanks for introducing me to so many new brain melting songs.
So apparently this is a tutorial on how to listen to a song?
Subscribed.
YES to more meshuggah...thanks dude
Amazing video Yogev!
JUST WOW MAN. Absolutely brilliant approach!
That was one hell of a conclusion. I heared this track also like version 1, now i try to get comfortable with counting version 2. Thanx for explaining this twisted riff. You make it simple to follow along. Great job and videowork.
Glad you like it!
i had always heard version 1 for years just like you said! recently made the switch to 2 and can't believe i ever thought it was different now. so much groove! combustion was always was the one meshuggah song i had my doubts about... turns out it was i who wrong.
I am LOVING this channel!!!
It's amazing how well you visualize this stuff with such simple materials
The accent on the 16th before the down is kind of a Thomas staple
I can't help it: When I'm not watching your video my brain always goes with Version 1. Somehow it feels more natural to me.
I would love a full episode! Subscribed in the hopes of seeing that!
This video is super cool! Loved the delivery :)
THIS IS 100% PURE BRILLIANCE
I’ve always heard it as version 1. Version 2 just shattered my foundation of reality.
Amazing video, loved the production! And obviously analysing Meshuggah is always some great content. Keep it going!
I very much liked the way of your explanation! Awesome content!!
It's like that blue/gold dress or the laurel/yanny crap. Once you hear it both ways, your brain keeps flipping back and forth between the two. Thanks a bunch!!!
Vocals is the key, Jens is actually singing the right (high hat) version. Still makes me crazy)
What a great video, can't wait to see that meshuggah compilation
Bro coolest video I’ve ever seen on music. Yes, would love to see a bigger full Meshuggah video!
I think they wanted to do something where "Version 2" would be the cleanest/easiest way to write/program, but wanted the listener to hear it as "Version 1"
Yeah, definitely that's exactly what's going on.
Don't think so. Watch any live video of the song, Jens is bobbing his knee to Version 2, also all of the cymbal accents go along with version 2. They've also said it's an homage to bay area thrash, and version 2 is a thrash beat where version 1 is not.
@@eonblue32 those are great points! i think you could be right. my only counterargument is that if you watch Dancers live Jens finds some crazy spots to headbang, i think he does it to be a "trickster" even tho it may be how they felt the pulse in the studio
@@eonblue32 this is what i was thinking. Basically it is an attempt to obscure the beat, but if it fits into 4/4, why would anyone count differently other than to hipster
or to clarify, if it is meant to feel syncopated, but really isn't - for example - why would anyone want to make counting it MORE complicated
I like combustion specifically for the quick rotation at the start. Separate riffs, all interlocking, showing in half-a-minute what you're in for with the rest of the disk.
I thought your version I breakdown made a lot of sense.
Dude this video blew my fucking mind. I've been hearing it completely wrong for years!
Man, that was very fun to watch! Keep up the good work.
Ok. I can only hear version one. I feel like it’s actually both and they are adding a 8th to the end of certain phrases to allow it to go back and forth between the two. 🤷🏻♂️. Great job! Yes more Meshugah! BTW. If you watch them play this live they headbang to version one!!!!
I'd love to see an analysis of their "Clockworks" song. I can't even begin to understand what Tomas is doing there, even on video!
woah! enjoyed the Bleed ones and was going to ask for this one. Thanks!
This is a dope video! I love how you demonstrate things with the cut outs and illustrations, it makes it much easier to understand
Glad you liked it!
YES! do more Meshuggah!!
....and then another with Pain of Salvation :-D
Huge Meshuggah episode? Subscribed
This was a super great video! I like the organization of the different parts of the song you were demonstrating and how you were able to tap to it visually.
Glad it was helpful!
Wow - what a superbly clear way to illustrate these complex rhythms!
More meshuggah content please!
I, a drummer, argued this with my jazz trumpet friend, and he was convinced I was insane...
Even knowing that the pulse is a 16th off from where it sounds like, I can play it like that BUT I CANNOT hear it that way (version 2). I have always heard it as version 1, and have learned to count is as version 2.
This is actually a magnificent explanation. Major, major credit to you for breaking this down.
Subbed. Epic video. Can't wait for more!
I have definitely noticed this before. Personally I always hear it in Version 1 until the half time part when I shift to hearing it as Version 2. I particularly like this song at the beginning of the album because it just ever so slightly draws you into Meshuggah wierdness with a riff that you're almost sure is 4/4, but then you just hear subtly wierd things and you know it isn't. They do this with the first vocal phrase as well ("No wondering whether this is it" just drags a bit uncomfortably long). But anyway, well made video.
I hear it the exact same way
Yogev, you are a beast of a teacher, love your style! Any way you could analyze Pnuma by Tool? The Vic Firth drum cam of Danny Caray getting millions of veiws, and the meter is crazy intricate. I got the sheet music online, but I would LOVE to hear your take on it.
Thank you! This explanation and the way you visualized it was outstanding! :)
Thanks for this video it’s one of the best analysis of Meshuggah’s song!!! 🤘
You left out one obvious part: The rhythmic patterns of the vocals. It composed of mostly eighth notes and some syncopated variations, at least based on your left pinky in your summation. He uses the same patterns on almost every song.
So "version 2" is the correct one.
for jens sure, but dollars to donuts the band is feeling version 1
For me the perception changes when the backbeat comes in. Before that I hear it as version 1, then as version 2. So there would be an inserted 17/16. It would be interesting to know what the band feels as pulse. :-D
You are naturally gifted at teaching rythm. Good video man I subscribed!
This is absolutely amazing!! The song, and this video.
I would be grateful for an analysis of Dillinger Escape Plan's Farewell, Mona Lisa.
Their best song imo
@@martinjakab there are so many wonderful songs in their catalog. Idk how you pick just one. Kinda depends on the day. I might take Widower, but they are almost all great. Maybe my favorite band. I got to see them live many times. I am the rare soul that has seen them wirh all 3 singers...Dmitri, Sean Ingram of Coaleace at Krazyfest 2001 in Louisville, and Greg.
@@rodakjones7574 Im not a long time fan, but ive listened through all of their albums, and so far I like this the most.
This song has been fucking me over for 10 years. Then I found the video where some aligned the metronome click with the intro and it fell into place for me. I've been kind of making the right assumption, but could never pin point it down. And I still can't 'feel' the main riff in its 'right' position in the grid, so my compromise is to just shift the felt down beat where necessary XD
The moment this video started I knew you were a drummer. I've recently started learning drums after playing guitar for many years and it completely changed the way I think about music. Looking forward to checking out more of your videos ^_^
YES MORE MESHUGGAH COUNTING VIDEOS PLEASE! Love your content.
Would love if you could analyse some Car Bomb stuff, they blow my mind
"This groove makes sense in both ways". Most Meshuggah songs are more like "this groove doesnt make sense in any way"
The way you examining songs is enlightening and elegant. Loved it good job!
That was crazy!! I always wondered about this. Thanks for making this video!!!
Version 1 for me, been a drummer for decades. The snare is the dominant / first drum in this piece and not the kick. The hi-hats introducing the main beat are on a 2nd beat, for example +X++ +X++ +X+X +X+X. More proof of this also comes back in with the bridge before the guitar solo too as all snare hits are on the first beats, X+X+X+X+ . Fun song to play :)
But version 2 is the correct one. And if you play it, thinking like version 1, it will sound odd. There's like a thousand guitar covers that will prove that point.
Listen closely to the cymbals. They're accenting along with version 2. They've also said it's an homage to bay area thrash, and 2 is a thrash beat where 1 is not. You can also see Jens bobbing his knee to version 2 in any live video.
I have to try and "untrain" myself from hearing version 1, even though so much of it lines up the way it should (vocals, solo)
@@DJBisGOD It’s totally doable. A click or an overlaid half time beat will help you
It's weird because my brain would want to have snare on 2 & 4 and accent on 1, so both versions sound just wrong to me xD
Interestingly I initially heard the intro guitar as the first version and then once the full band came in as the second version, and just initially thought the hi hat was deliberately placed in a confusing manner in the intro.... until I realized it's actually just on the "and" of the beat! That shifted my whole perception of the song to the second version every time I hear it. Very cool to see this broken down!
Simply amazing style and content!