Your comments about the subtlety and quietness really hit the spot. For me the first half is so very 'sparse' and almost lethargic, then in come the harmonies as almost whispered voices in your mind. And once he goes up high it becomes so ethereal. I saw this as less whites and blacks visually, but instead many shades of grey. It somewhat reminds me of when I lived in Portland (Oregon) way up on a hill, when the fog came in and surrounded the house you couldn't see far out the window that usually had Mt. Hood framed in the distance. Especially with that frosted glass window in this. Everything is so small and condensed visually which feels almost 'protective' to go with that feeling Geoff portrays of loss and vulnerability. And I agree about that black frame. I think it could have been better if it had been a shot of just the back of the piano, so it wasn't so stark black, but instead a dark grey. I also enjoy your mention of the pulse of beat. I didn't know what to call it, but it was like the first part of a heart beat, but without the second beat.
There are a lot of those atmospheric sounds just on the edges of your hearing throughout a surprising amount of song. It's fascinating the ways Geoff is doing soundscaping recently.
I love that you bring out the filmography of the video. That's what caught my eye (while my ears were enraptured by his dragon purrs). The shot of him playing the piano, his wedding ring is dead center, playing into the light/dark contrasts, the gleaming silver against black sleeves and black and white keys. Considering the subject of the song, that's a painful focal point.
I didn't know the original until I'd seen it covered by the 12 yr old Angelina Jordan, at her piano and I loved her simple video. This one is something else entirely. Haunting, and heartbreaking. Geoff's method is usually to set up three or four cameras on tripods with Cathy watching what is being shot on a monitor. Fun note: Top fan Huldra Draco has made a video entitled Geoff is an alien. :) It's very short but fun.
Fun facts: That buzzy sound you here is one of the plug in sounds Geoff used for this cover: the sound of locusts. This was shot in the same studio (albeit in a different section) where they filmed House of the Rising Sun.
Great breakdown. I almost missed the start, our different summertimes suddenly made you an hour early from usual. I gather Kathy puts up 4 different cameras to take the various angles simultaneously. Lovely piano he's got last year for his covers of Til Then and Sound of Silence. I believe they searched wide and long for the perfect one.
He wanted a lightweight piano he could use for video shoots on location, after suffering through the out of tune upright he borrowed for Shenandoah. He ordered one online. It arrived broken. They returned it. Short on time, given his upcoming reservation at the studio, they found one locally on Craigslist. The seller forgot to mention her apartment was on the third floor. So Geoff and Kathy schlepped it down two flights of stairs. But now they've used it in at least four videos so far, and have a piano at home to play whenever they want, including their son who has begun piano lessons.
@@shirleykarr560They also schlepped it a block or two down broken sidewalks for this. I can’t imagine what drivers thought they see Kathy hauling those big old cases and Geoff lugging a piano down the sidewalk like they’re going on a walk.😂😂 I think that the large piano that they used in Jack’s Lament was also out of tune. I can’t imagine it was still in tune after being manhandled the way it was.
I am pretty sure there were their standard three cameras. Kathy liked the look from the side and ran through again for those shots. That last shot of him sitting all alone and forlorn is the perfect ending.
You always bring perspectives I'd never considered when I'm watching your analysis. Even if I've seen the original video 100 times. Even if I've seen other people analyze it. You do more than just vocal analysis. It's what keeps me coming back. :)
I especially loved your insights on the framing and the video in general, as I have yet to listen to this one all the way through without closing my eyes at some point or other. Something about the lions purr sounds in his voice is so incredibly soothing to me and I just can't get enough.
Had been waiting for your take, David. This has such layered simplicity in both the arrangement and the setting/videography. Subtle all around and continues to be affecting even after dozens of watchings. One of Geoff's best yet!
I happened to rewatch over a late breakfast and finished at 9:49. Pretty close! This one gets me every time. The original came out when I was in middle school and it had a solid place in my angsty teen music rotation. The ways Geoff has reinterpreted it are so heartbreakingly beautiful. In defense of the sudden black screen, I interpret that as the narrator squeezing his eyes shut for a moment to rein in the powerful emotions he's trying to convey.
Yes, I too was total suprised, when the song ended. I could have listened some more... sigh I heard this song in the Netflix Series Lucifer and searched for the original after you mentioned it. Geoff´s arrangement is stunning. Thank you for breaking it down for us. I would have never realised how the lighting affects the experience.
- Yup, Geoff punches you in the gut right away in this one. 😆 - The first time I listened to this, about 1/3 of the way in I started thinking that maybe he wasn't going to harmonize with himself in this one and then it happened right after I thought that. Then about 2/3 of the way in, I thought he was just going to stay in the basement depths of his range for the entirety of the song, and then right after I thought that he busts out the tenor line. I swear he was reading my mind. 😂 - Ooohh a reverse spotlight. I really like that imagery. - I thought this was extra smooth sounding, and I now I know why. - Yeah, Geoff's production on this one is really interesting. - Up the tinkly end 🤣 - An egg shaker in an oven glove....what a glorious description - Yes, this song had been requested of Geoff for forever. It was never one he was really interested in, but he finally gave in and admitted that he actually had a lot of fun arranging this one. - Hi, Timmy! 😸
Great reaction, again! Thank you for your insights in this piece, it is more interesting to me now (I'd never heard of it before 😉) I think Geoff would appreciate your analysis and appreciation of his music, too!
Geoff sometimes does something he calls ‘side chaining’ to his sounds. I’m wondering if that is what you are hearing in that ‘re-attack/pulse’? My very layman understanding of it is that you can essentially tell the piano part to ‘get out of the way’ of another sound, like a bass kick, but if you use it and then don’t add in the bass kick, the piano part will just have a slight pulse/rhythm to it.
Timmy! 😸 That sound you thought might be a loose bow on violin or cello is actually ... locusts. Yeah. Bugs. When Geoff arranges for VoicePlay, he only has voices to work with. They do amazing things but it's still only human voices. Arranging for himself, thanks to plugins he can not only use whatever instruments he wants, he has fun with sound effects. Screenshot he shared for this arrangement had 14 vocal tracks plus locusts, dolphin, and whale song in addition to instruments. In I See Fire, he used a clanging metal gate, and a shovel hitting sand and a shovel hitting dirt. For Unshaken, he has over 100 tracks. He called it a "beast." You don't have to be a gamer to appreciate the cover from Red Dead Redemption 2. They filmed this just down the hall from where they filmed House of the Rising Sun. This was the first time using a new toy/tech device that lets Kathy stop and start all the cameras at once. Geoff joked they originally planned to do a shot-for-shot remake of Chris Isaak's video but they couldn't agree on Kathy's wardrobe or which beach.
I really appreciate your analysis of the harmonic structures; not many reactors take note of that. And I agree with you about that sudden cut to black. It seemed really jarring to me since so much of the video is white ... Maybe if he'd cut to a white screen, or faded out to white and back in again, I'd feel differently. (Hello, Timmy!)
Geoff took a repetitive song and created so many interior variations. It's full of ear candy goodies and, yet it's crafted to be such a private conversation. I love your description of earned magic as the song develops. I agree about the black; it's too jarring and I cannot guess why that was used. But I greatly love your discussion about the different framings and video choices. It adds to our appreciation of the piece. Hello Timmy!
Timmy looks grumpy about being left to the end of your video. He definitely feels he deserves a starring role rather than a cameo. Be careful. You may end up with a rodent in your bed.
Are you going to do his “Unshaken” from warframe. His ghost riders are back before they became ghosts. It does not appear to be doing well on TH-cam but he seems to be experimenting with pushing the lower register of his voice. People need to see and hear this.
This sounds so simple, although it's not. Geoff's arrangements are magical!
Your comments about the subtlety and quietness really hit the spot. For me the first half is so very 'sparse' and almost lethargic, then in come the harmonies as almost whispered voices in your mind. And once he goes up high it becomes so ethereal.
I saw this as less whites and blacks visually, but instead many shades of grey. It somewhat reminds me of when I lived in Portland (Oregon) way up on a hill, when the fog came in and surrounded the house you couldn't see far out the window that usually had Mt. Hood framed in the distance. Especially with that frosted glass window in this. Everything is so small and condensed visually which feels almost 'protective' to go with that feeling Geoff portrays of loss and vulnerability.
And I agree about that black frame. I think it could have been better if it had been a shot of just the back of the piano, so it wasn't so stark black, but instead a dark grey.
I also enjoy your mention of the pulse of beat. I didn't know what to call it, but it was like the first part of a heart beat, but without the second beat.
no one can growl like Geoff! ❤
There are a lot of those atmospheric sounds just on the edges of your hearing throughout a surprising amount of song. It's fascinating the ways Geoff is doing soundscaping recently.
I enjoyed both "the twinkly end" and "Yes, Geoff, obviously" 😀
I love that you bring out the filmography of the video. That's what caught my eye (while my ears were enraptured by his dragon purrs). The shot of him playing the piano, his wedding ring is dead center, playing into the light/dark contrasts, the gleaming silver against black sleeves and black and white keys. Considering the subject of the song, that's a painful focal point.
I find his choice to sing low and almost breathy grabs the attention and holds it firmly, so much more than singing louder ever could.
I didn't know the original until I'd seen it covered by the 12 yr old Angelina Jordan, at her piano and I loved her simple video. This one is something else entirely. Haunting, and heartbreaking. Geoff's method is usually to set up three or four cameras on tripods with Cathy watching what is being shot on a monitor. Fun note: Top fan Huldra Draco has made a video entitled Geoff is an alien. :) It's very short but fun.
Fun facts: That buzzy sound you here is one of the plug in sounds Geoff used for this cover: the sound of locusts. This was shot in the same studio (albeit in a different section) where they filmed House of the Rising Sun.
My favorite part of this entire arrangement is the piano suspension after “dream of you” transitioning to the next register. It is soooo satisfying!
Great breakdown.
I almost missed the start, our different summertimes suddenly made you an hour early from usual.
I gather Kathy puts up 4 different cameras to take the various angles simultaneously.
Lovely piano he's got last year for his covers of Til Then and Sound of Silence. I believe they searched wide and long for the perfect one.
He wanted a lightweight piano he could use for video shoots on location, after suffering through the out of tune upright he borrowed for Shenandoah. He ordered one online.
It arrived broken.
They returned it.
Short on time, given his upcoming reservation at the studio, they found one locally on Craigslist. The seller forgot to mention her apartment was on the third floor. So Geoff and Kathy schlepped it down two flights of stairs.
But now they've used it in at least four videos so far, and have a piano at home to play whenever they want, including their son who has begun piano lessons.
@@shirleykarr560 Thanks for giving more info than I had. Always like to hear more BTS.
@@shirleykarr560They also schlepped it a block or two down broken sidewalks for this.
I can’t imagine what drivers thought they see Kathy hauling those big old cases and Geoff lugging a piano down the sidewalk like they’re going on a walk.😂😂
I think that the large piano that they used in Jack’s Lament was also out of tune. I can’t imagine it was still in tune after being manhandled the way it was.
I am pretty sure there were their standard three cameras. Kathy liked the look from the side and ran through again for those shots. That last shot of him sitting all alone and forlorn is the perfect ending.
I love all of David's videos.
You always bring perspectives I'd never considered when I'm watching your analysis. Even if I've seen the original video 100 times. Even if I've seen other people analyze it. You do more than just vocal analysis. It's what keeps me coming back. :)
I especially loved your insights on the framing and the video in general, as I have yet to listen to this one all the way through without closing my eyes at some point or other. Something about the lions purr sounds in his voice is so incredibly soothing to me and I just can't get enough.
Enjoyed your insights.
Had been waiting for your take, David. This has such layered simplicity in both the arrangement and the setting/videography. Subtle all around and continues to be affecting even after dozens of watchings. One of Geoff's best yet!
Your breakdowns and observations are really engaging and informative, thanks 😊
I happened to rewatch over a late breakfast and finished at 9:49. Pretty close!
This one gets me every time. The original came out when I was in middle school and it had a solid place in my angsty teen music rotation. The ways Geoff has reinterpreted it are so heartbreakingly beautiful.
In defense of the sudden black screen, I interpret that as the narrator squeezing his eyes shut for a moment to rein in the powerful emotions he's trying to convey.
Yes, I too was total suprised, when the song ended. I could have listened some more... sigh
I heard this song in the Netflix Series Lucifer and searched for the original after you mentioned it.
Geoff´s arrangement is stunning. Thank you for breaking it down for us. I would have never realised how the lighting affects the experience.
- Yup, Geoff punches you in the gut right away in this one. 😆
- The first time I listened to this, about 1/3 of the way in I started thinking that maybe he wasn't going to harmonize with himself in this one and then it happened right after I thought that. Then about 2/3 of the way in, I thought he was just going to stay in the basement depths of his range for the entirety of the song, and then right after I thought that he busts out the tenor line. I swear he was reading my mind. 😂
- Ooohh a reverse spotlight. I really like that imagery.
- I thought this was extra smooth sounding, and I now I know why.
- Yeah, Geoff's production on this one is really interesting.
- Up the tinkly end 🤣
- An egg shaker in an oven glove....what a glorious description
- Yes, this song had been requested of Geoff for forever. It was never one he was really interested in, but he finally gave in and admitted that he actually had a lot of fun arranging this one.
- Hi, Timmy! 😸
Love your reactions David! Thank you ❤️
Great reaction, again! Thank you for your insights in this piece, it is more interesting to me now (I'd never heard of it before 😉) I think Geoff would appreciate your analysis and appreciation of his music, too!
Hi Timmy!!!!!!!
Amazing reaction as always!
I could SEE the gears turning in your head during your watch-through. :)
Geoff sometimes does something he calls ‘side chaining’ to his sounds. I’m wondering if that is what you are hearing in that ‘re-attack/pulse’? My very layman understanding of it is that you can essentially tell the piano part to ‘get out of the way’ of another sound, like a bass kick, but if you use it and then don’t add in the bass kick, the piano part will just have a slight pulse/rhythm to it.
Another thoughtful breakdown and fun reaction. Love watching your videos!
Love your analysis. Lots more to think about the song that I felt I knew.
Timmy! 😸
That sound you thought might be a loose bow on violin or cello is actually ... locusts. Yeah. Bugs. When Geoff arranges for VoicePlay, he only has voices to work with. They do amazing things but it's still only human voices. Arranging for himself, thanks to plugins he can not only use whatever instruments he wants, he has fun with sound effects. Screenshot he shared for this arrangement had 14 vocal tracks plus locusts, dolphin, and whale song in addition to instruments. In I See Fire, he used a clanging metal gate, and a shovel hitting sand and a shovel hitting dirt. For Unshaken, he has over 100 tracks. He called it a "beast." You don't have to be a gamer to appreciate the cover from Red Dead Redemption 2.
They filmed this just down the hall from where they filmed House of the Rising Sun. This was the first time using a new toy/tech device that lets Kathy stop and start all the cameras at once. Geoff joked they originally planned to do a shot-for-shot remake of Chris Isaak's video but they couldn't agree on Kathy's wardrobe or which beach.
I really appreciate your analysis of the harmonic structures; not many reactors take note of that.
And I agree with you about that sudden cut to black. It seemed really jarring to me since so much of the video is white ... Maybe if he'd cut to a white screen, or faded out to white and back in again, I'd feel differently. (Hello, Timmy!)
Thank you for getting into such details! Loved it!
Timmy looks so unimpressed. Geoff found a way to make me listen to a song I never cared for...again and again. Thank you for the wonderful analysis.😼
I'm guessing the "percussive" thing on "but you" was the sustain pedal on the piano being let go?
Geoff took a repetitive song and created so many interior variations. It's full of ear candy goodies and, yet it's crafted to be such a private conversation.
I love your description of earned magic as the song develops.
I agree about the black; it's too jarring and I cannot guess why that was used. But I greatly love your discussion about the different framings and video choices. It adds to our appreciation of the piece.
Hello Timmy!
❤❤❤❤❤❤
Timmy looks grumpy about being left to the end of your video. He definitely feels he deserves a starring role rather than a cameo. Be careful. You may end up with a rodent in your bed.
"You don't want harmonies to change faster than the music. That would be really strange." -- Or you're Jacob Collier. :)
Are you going to do his “Unshaken” from warframe. His ghost riders are back before they became ghosts. It does not appear to be doing well on TH-cam but he seems to be experimenting with pushing the lower register of his voice. People need to see and hear this.