its insane how the music and lyrics become even deeper when you look at the music in this way, and knowing Stu, this is all intentional. Pretty nuts. we are lucky to be living at the same time as these guys
the one thing i love about king gizz is you can basically head bang to all of this, but half the time the downbeat will be on the and of your head bang. and it is sooooooo so so satisfying when the 1 comes back and everything lines up. that’s the fourth color. edit: that same feeling applies a lot to butterfly 3k too. recommend doing a video on that!
I’m a weaver and doing a color theory course right now. Finding this is perfect. The fourth color will be on my mind now. I thought of Joey as the color black last night but that’s kind of obvious lol
I’m always so thankful of smart people for explaining why my favorite songs are my favorite songs lol - I know next to nothing about musical composition, so it’s really great having it broken down to appreciate better, especially on such an elaborate and unique song as this. Fantastic video and fantastic work! 🙏
How is this channel not bigger. I really love your analysis of this song. Please do more songs by them! I’d really like to see an analysis of Paper Mache Balloon Animal or even Changes. That would be incredible. Keep it up!
You should check out the channel 'Expert Opinions' - they have a great video on the music theory of 'Changes', which is pretty much on par with what I'd have to say about the song.
i lost my vinyl collection to a fire ( lost the house). uncle gave me his old hi-fi with a onkio turntable from the late 70's, as a pair of amazing speakers. my first 3 vinyls included this album! :-)
Absolutely brilliant breakdown. Thank you so much for this video! I'd love to see you cover Deserted dunes welcome weary feet, since that song's ending is still a mystery to me
I wasn't planning on doing 'Deserted Dunes', at least any time soon, so I'll do a quick write-up on it. The main theme of this song is its 7/16 meter - initially, in the form of its opening bass riff, which evolves to include guitar and drums. As the song progresses, this basic riff is juxtaposed against a 3/8 vocal part, with the resulting 7 on 3 polymeter truncated to fit 8 measures of 7/16. Then, in the chorus, the vocals adopt a new rhythmic pattern - it's not a polymeter, but it does manage to heavily involve the '3', creating a thematic connection to the earlier vocal part. This new pattern has the following 16th note counts - 3+3+3+3+3+3+2+3+3+2 - or if you prefer 6+6+8+8, with the '8's being the 3+3+2 tresillo rhythm. If this vocal pattern were on its own, I would probably be tempted to notate it in 7/4 (counted as 3+4). After a brief section where everything is in 7/16, the 3/8 polymeter returns, this time played by guitar. At this point, everything repeats from the beginning. This second iteration starts to feature more and more synthesizer, which doubles up on that 7/16 pattern. At the end, everything aside from the synthesizer drops out, and then we get an entirely new section. The synthesizer carries on the 7/16 pattern while the drums and bass adopt a 4/4 meter. Eventually, even a 4/4 synth part joins the fray. I think on the surface, this 7 on 4 polymeter is a bit simpler than the 7 on 3 in the song's first section, but there are two reasons why it might leave a confusing impression. To begin with, the song's first section uses 7/16 as the rhythmic 'base', with the 3-related rhythms happening 'on top' of it. So even though the 7/16 still exists in the song's second section, its role is reversed, with 4/4 being the base and the 7/16 being 'on top'. The other thing is that the bass part, despite being 4/4, follows a subtle three *measure* pattern - yet another appearance of 3, but one that could fly under the radar, since the bass part is sort of quiet, and the repetition has a longer form. Still, it probably leads to an almost subconscious feeling of complexity. Hope this helps!
What a complex masterpiece. Amazing work breaking it down! I always come back to this album, the KEXP set played live is incredible. Now I appreciate it even more that they can all stay synced up!
Love those videos! Also it's kinda cool to discover new bands that way, up until now I've only heard of Gizzard by someone mentioning it but never actually listened to it.
This is a good album to start with IMO - lots of interesting rhythms/polymeters with a vintage psych/prog kind of sound. But King Gizzard has explored so many styles that no matter what your musical preferences, you'll probably be able to find something from them that will suit you.
Great video! I was delighted to see how you lined up the different instruments in their own meters. To add on to your last point about the hidden 4/4 time signature (representing the fourth color), I think its worth noting that the song "tetrachromacy" sounds like its in 3/4, with the drums being in 3/4, and the guitar with 5 bars of 3/4 + one added note. But if you notate the guitar as 4/4 it lines up cleaner without the truncation. So it sounds like 3/4 but is really hiding a 4/4 meter :)
Another excellent video! I especially like how you drew the connection to the rest of the album at the end and explore how the thematic content relates to the technical details. I'd love more Gizz videos, especially contrasting this with the Loyalty suite!
I’m still a relative novice in the world of time signatures, like I’m not 100% sure of the difference between 7/4, 7/8, and 7/16, but for me personally, that guitar and vocal melody where he says “I see through the bricks to the sea, crumbling castle,” I’ve been counting as a measure of 6, 4, 6, 4 back and forth, rather than 5 measures of 4. It just makes more sense to me with the accenting, upbeats and downbeats, and whatnot
@turkeysamwich00 To begin with - the lower number in a time signature is just indicating what type of notes the upper number counts out in the meter - so a 7/4 time signature lasts for 7 quarter notes, a 7/8 time signature for 7 eighth notes, etc. It turns out you can kind of treat a time signature like a fraction for purposes of its duration, and just like mathematically 7/8+7/8 = 7/4, two measures of 7/8 will fit exactly into a measure of 7/4. Using this rule, it's plain to see that 3/4 and 6/8 (both common time signatures) should last the same duration since those fractions are equal. In that case, the lower number is important mostly to highlight how the meter is counted. 3/4 is counted 1 - 2 - 3 - and 6/8 is counted 1 2 3 1 2 3 (which may also be felt like 1 - - 2 - - ). The rules for this type of distinction are not 100% consistent though so it's good to just stick to convention. As for the other part of your comment, I think your 6 4 6 4 interpretation is totally valid. Ultimately, things like time signatures are a kind of unwieldy tool, and in many cases there are multiple interpretations you could apply to a piece of music that all make sense. The 6 4 6 4 count is probably something you'd notate in a 5/4 time signature, making the section a superposition of 5/4 and 5/8 (a concept I actually point out in the later A section with the possibility of seeing it as a superposition 7/16, 7/8, and 7/4). However, I think that this interpretation may be weighted by the fact that the underlying 5/8 parts end up forming a strong accent underneath the word 'sea', which might make it feel like the vocal part is also stressing that note - which is exactly one 5/4 measure after the start of the section. But I don't think the vocal part itself necessarily dictates this time signature. The guitar part that plays along with this has the same rhythmic feel as the A section guitar part, but I don't think anyone would hear THAT as being in 5/4 (or I guess it would be four measures of 5/4 plus a measure of 1/4). The 4/8 interpretation has just as much internal consistency, with how the measures repeat rhythmic phrases, and I think it tends to make more sense across every section where the guitar plays with this rhythmic feel. The fact that the 5/8 meter in the B section kind of alters how you hear it is common to 4/8 or 4/4 meters - as I point out at the end of the video, it's easy to neglect these meters because they can be construed as an implicit part of the the 2 and 4-based rhythmic structure (the '4' in the '5/4', if you will) and not something to be counted explicitly. They're kind of like rhythmic tofu, taking on the flavor of the meters around them. Great comment though, I really appreciate when people bring their own observations to the table, because ultimately we all hear music differently and I do my best to write about music in a way that resonates with a wide variety of possible perceptions.
You gave us the video we dreamed of, and so fast too! Impressive. I really look forward to following this channel, you spoil us already. Is the rest of the album mostly variations on those same rhymtic themes or are they interesting enough to warrant their own video later on?
There are a bunch of songs off of Polygondwanaland that are worth analyzing for sure. Some of them use longer irregular meters (such as Loyalty, which prominently uses 11/8), whereas Crumbling Castle tends to stick to smaller meters. Also there are other techniques such as double truncations (I think Inner Cell does this) which are pretty distinct. If I had the time and resources, I'd flood this channel with King Gizzard analyses. But there are other bands/songs I want to look at as well, so it might be a little while before I do more King Gizzard. And when I get to it, it might be something off of Sketches of Brunswick East or PetroDragonic Apocalypse or something.
new favourite music theory channel 🙏🙏 would love to see u analyse some black midi/geordie greep, smth like dangerous liaisons has so much complexity that no one seems to have unpacked yet lol. sick video!!!
That's a great suggestion! I normally don't take suggestions unless a dozen people are asking for the same thing. But I will put this on my list for if I ever need ideas.
Fantastic analysis, hats off! How did you manage to notate polymetric time signatures? I was just researching it because I needed it for a composition but sort of gave up: Musescore interprets different sigs on different staves as polyrhythms rather than polymeters; the only software that natively interprets them as polymeters seems to be Dorico, but that came with its own load of baggage... On your score it looks like the font is Leland, which suggests Musescore, but the playback animation looks different. So I’m confused, but also applaud you for wrangling whatever software you use to correctly display this beauty.
I did in fact use Musescore, but had to really screw around with the formatting. Basically, if I wanted simultaneous 5/8 and 4/8 meters, I would go to measure properties for a single measure and set the actual value to 20 eighth notes. Then I would go to time signature properties and set the text to be 4/8 or 5/8 for whichever staves I wanted. Then I would fill in the actual sheet music, and manually add barlines where the measures should be. For other things like changing time signatures halfway through that long measure, I had to resort to Photoshop, leaving space in the formatting with an extra eighth note that I made invisible. The playback animation is custom as well, using two copies (highlighted and unhighlighted) of the sheet music which were cropped in time with the music in Adobe Premiere. Very tedious but not that hard to figure out. My buddy who helps me with the grunt work for a lot of the video editing hates me for this though, lol. Still, I think it looks way better than the whole 'scanning bar' thing you get with most programs.
@@ThePopDescriptivist I suspected it would be some kind of display value shenanigans like that, thank you for your super straightforward explanation. But then Photoshop and custom playback animation in Premiere?! Your commitment commands the utmost respect sir.
In Terry Pratchett's Discworld, magic is the eighth colour, visible only to wizards and cats. Perhaps the fourth colour here is only visible/audible/makes any sense to crazy musicians.
I'm glad I didn't rob you of the opportunity to figure it out on your own. That sort of thing is great for developing your own understanding and mastery of music. Listened to the cover btw - it's pretty good! Maybe a little sloppy or inaccurate in places, but it's not an easy song.
@ThePopDescriptivist thanks a lot for listening to it (I didn't mean to advertise myself haha) of course I was mostly joking, I loved working it out myself :)
I'm familiar with the concept, but unfortunately, the few confirmed human tetrachromats don't seem to actually see 'new colors' in the sense that these songs imply with their lyrics. Rather, there is enough overlap in the frequency range to the regular three human cones that these people merely have enhanced color discrimination. I think the theory is that the 'opponent process' of interpreting color on a neurological level cannot adapt to more than three color inputs. Fascinating stuff nonetheless.
Lol completely forgot about that! But yes, my instrumental version might serve as another valuable perspective. And also, I don't trust TH-cam to always make the logical leap of 'no copyright = no copyright strike'.
@@ThePopDescriptivist I'm pretty sure it could still get some kind of claim even though the video would certainly not be taken down, I've done covers of songs from this album that have been flagged for copyright
In the second D Section, is the percussion not in 5/16? i learnt the bassline to Crumbling Castle and at that point in the song i always played along to that percussion because it lines up.
I took another listen, and I don't think I'm hearing it - maybe what you're describing is the drum part, which has that prominent rimshot which matches the 5/16 patterns used in the bass. What I described as 'percussion' is specifically that sort of 'knocking' sound in the right channel. If you watch the KEXP live version of 'Crumbling Castle', you can see Eric playing this part with a rim click on the snare of his drum set. This part is in 2/8, or potentially you could notate it as part of a broader 5/4 figure.
I love Palm, and "Walkie Talkie" slaps. I'm definitely going to do a Palm video at some point, though I may choose one of their more conceptually rigorous songs, like the metric modulations in "Color Code" or the unnatural sounding stress patterns in "Dog Milk". Was there a specific question you had about "Walkie Talkie", or were you just looking for a general overview? I could write a few paragraphs if you wanted to understand a particular riff or something.
@ThePopDescriptivist a overview will be great in pecial the intro, I like the strain in the chords, but anything from Palm will be great, thanks for answer
What an absolute legend transcribing Gizz like it’s a nursery rhyme
Stu really fucking loves his sevens that feels like fours. Fantastic breakdown.
its insane how the music and lyrics become even deeper when you look at the music in this way, and knowing Stu, this is all intentional. Pretty nuts. we are lucky to be living at the same time as these guys
the one thing i love about king gizz is you can basically head bang to all of this, but half the time the downbeat will be on the and of your head bang. and it is sooooooo so so satisfying when the 1 comes back and everything lines up. that’s the fourth color.
edit: that same feeling applies a lot to butterfly 3k too. recommend doing a video on that!
Hell yes!
I’m a weaver and doing a color theory course right now. Finding this is perfect. The fourth color will be on my mind now. I thought of Joey as the color black last night but that’s kind of obvious lol
I understand none of this video but I’ve currently got a Fibonacci number sequence 7 color warp on my loom
this is a weird suggestion but you should probably listen to meshuggah
@ just listened to obzen at the gym, good shit, thank you
Always wanted a detailed analysis of Crumbling Castle's time signature shenanigans, thank you so much for this
King Gizz is even more genius than I ever realized. Thank you so much for this!
I’m always so thankful of smart people for explaining why my favorite songs are my favorite songs lol - I know next to nothing about musical composition, so it’s really great having it broken down to appreciate better, especially on such an elaborate and unique song as this.
Fantastic video and fantastic work! 🙏
Thanks for the deep dive. No wonder I had troubles figuring out what was going on rhythmically with a casual listen.
How is this channel not bigger. I really love your analysis of this song. Please do more songs by them! I’d really like to see an analysis of Paper Mache Balloon Animal or even Changes. That would be incredible. Keep it up!
You should check out the channel 'Expert Opinions' - they have a great video on the music theory of 'Changes', which is pretty much on par with what I'd have to say about the song.
the quality of the video is astounding, I really enjoyed this... cant wait for more gizz content
Another banger! Analyzing not only King Gizzard but also the Lizard Wizard? High quality.
i lost my vinyl collection to a fire ( lost the house). uncle gave me his old hi-fi with a onkio turntable from the late 70's, as a pair of amazing speakers. my first 3 vinyls included this album! :-)
the audio you use to explain what you're discussing sounds like an old flash you wouldve played in 2006 and i love it!
King General Midizzard Wizard
Yeah it's MIDI
I think the un-notatable sounds in the 4/4 section are actually from Ambrose's harmonica xD it just blends in that well
As a drummer it’d be fun to chat about the rhythmic similarities to the musical notation. Love their music and enjoyed this discussion/dissection.
Amazing timing, I just saw them play this live last night at the fox theater
This is such a dope breakdown of a very dope and complex song!
Absolutely brilliant breakdown. Thank you so much for this video! I'd love to see you cover Deserted dunes welcome weary feet, since that song's ending is still a mystery to me
I wasn't planning on doing 'Deserted Dunes', at least any time soon, so I'll do a quick write-up on it.
The main theme of this song is its 7/16 meter - initially, in the form of its opening bass riff, which evolves to include guitar and drums. As the song progresses, this basic riff is juxtaposed against a 3/8 vocal part, with the resulting 7 on 3 polymeter truncated to fit 8 measures of 7/16. Then, in the chorus, the vocals adopt a new rhythmic pattern - it's not a polymeter, but it does manage to heavily involve the '3', creating a thematic connection to the earlier vocal part. This new pattern has the following 16th note counts - 3+3+3+3+3+3+2+3+3+2 - or if you prefer 6+6+8+8, with the '8's being the 3+3+2 tresillo rhythm. If this vocal pattern were on its own, I would probably be tempted to notate it in 7/4 (counted as 3+4).
After a brief section where everything is in 7/16, the 3/8 polymeter returns, this time played by guitar. At this point, everything repeats from the beginning. This second iteration starts to feature more and more synthesizer, which doubles up on that 7/16 pattern. At the end, everything aside from the synthesizer drops out, and then we get an entirely new section.
The synthesizer carries on the 7/16 pattern while the drums and bass adopt a 4/4 meter. Eventually, even a 4/4 synth part joins the fray. I think on the surface, this 7 on 4 polymeter is a bit simpler than the 7 on 3 in the song's first section, but there are two reasons why it might leave a confusing impression. To begin with, the song's first section uses 7/16 as the rhythmic 'base', with the 3-related rhythms happening 'on top' of it. So even though the 7/16 still exists in the song's second section, its role is reversed, with 4/4 being the base and the 7/16 being 'on top'. The other thing is that the bass part, despite being 4/4, follows a subtle three *measure* pattern - yet another appearance of 3, but one that could fly under the radar, since the bass part is sort of quiet, and the repetition has a longer form. Still, it probably leads to an almost subconscious feeling of complexity.
Hope this helps!
@ThePopDescriptivist I love you man
What a complex masterpiece.
Amazing work breaking it down!
I always come back to this album, the KEXP set played live is incredible. Now I appreciate it even more that they can all stay synced up!
Beautiful wrap-up to your analysis-tying it to a primary theme of the album (: Bravo!
Magic.... the darkest magic.
Love those videos! Also it's kinda cool to discover new bands that way, up until now I've only heard of Gizzard by someone mentioning it but never actually listened to it.
This is a good album to start with IMO - lots of interesting rhythms/polymeters with a vintage psych/prog kind of sound. But King Gizzard has explored so many styles that no matter what your musical preferences, you'll probably be able to find something from them that will suit you.
Great video! I was delighted to see how you lined up the different instruments in their own meters. To add on to your last point about the hidden 4/4 time signature (representing the fourth color), I think its worth noting that the song "tetrachromacy" sounds like its in 3/4, with the drums being in 3/4, and the guitar with 5 bars of 3/4 + one added note. But if you notate the guitar as 4/4 it lines up cleaner without the truncation. So it sounds like 3/4 but is really hiding a 4/4 meter :)
Great example! I wish I had the time make a video about every song on Polygondwanaland...
Another excellent video! I especially like how you drew the connection to the rest of the album at the end and explore how the thematic content relates to the technical details. I'd love more Gizz videos, especially contrasting this with the Loyalty suite!
Every song is in 4/4 if you’re good enough at math
4/4? When I'm not making these videos, I prefer to interpret every song in 1/1. No counting necessary.
so stoked that you are analyzing gizzy ❤
Outstanding, as usual- keep up the good work!
More Gizz plzzzzz
I’m still a relative novice in the world of time signatures, like I’m not 100% sure of the difference between 7/4, 7/8, and 7/16, but for me personally, that guitar and vocal melody where he says “I see through the bricks to the sea, crumbling castle,” I’ve been counting as a measure of 6, 4, 6, 4 back and forth, rather than 5 measures of 4. It just makes more sense to me with the accenting, upbeats and downbeats, and whatnot
The vocals are phrased like that, but the drums are in 5 and the breakdown at the end of each repeat is definitely in 5
@turkeysamwich00 To begin with - the lower number in a time signature is just indicating what type of notes the upper number counts out in the meter - so a 7/4 time signature lasts for 7 quarter notes, a 7/8 time signature for 7 eighth notes, etc. It turns out you can kind of treat a time signature like a fraction for purposes of its duration, and just like mathematically 7/8+7/8 = 7/4, two measures of 7/8 will fit exactly into a measure of 7/4. Using this rule, it's plain to see that 3/4 and 6/8 (both common time signatures) should last the same duration since those fractions are equal. In that case, the lower number is important mostly to highlight how the meter is counted. 3/4 is counted 1 - 2 - 3 - and 6/8 is counted 1 2 3 1 2 3 (which may also be felt like 1 - - 2 - - ). The rules for this type of distinction are not 100% consistent though so it's good to just stick to convention.
As for the other part of your comment, I think your 6 4 6 4 interpretation is totally valid. Ultimately, things like time signatures are a kind of unwieldy tool, and in many cases there are multiple interpretations you could apply to a piece of music that all make sense. The 6 4 6 4 count is probably something you'd notate in a 5/4 time signature, making the section a superposition of 5/4 and 5/8 (a concept I actually point out in the later A section with the possibility of seeing it as a superposition 7/16, 7/8, and 7/4).
However, I think that this interpretation may be weighted by the fact that the underlying 5/8 parts end up forming a strong accent underneath the word 'sea', which might make it feel like the vocal part is also stressing that note - which is exactly one 5/4 measure after the start of the section. But I don't think the vocal part itself necessarily dictates this time signature. The guitar part that plays along with this has the same rhythmic feel as the A section guitar part, but I don't think anyone would hear THAT as being in 5/4 (or I guess it would be four measures of 5/4 plus a measure of 1/4).
The 4/8 interpretation has just as much internal consistency, with how the measures repeat rhythmic phrases, and I think it tends to make more sense across every section where the guitar plays with this rhythmic feel. The fact that the 5/8 meter in the B section kind of alters how you hear it is common to 4/8 or 4/4 meters - as I point out at the end of the video, it's easy to neglect these meters because they can be construed as an implicit part of the the 2 and 4-based rhythmic structure (the '4' in the '5/4', if you will) and not something to be counted explicitly. They're kind of like rhythmic tofu, taking on the flavor of the meters around them.
Great comment though, I really appreciate when people bring their own observations to the table, because ultimately we all hear music differently and I do my best to write about music in a way that resonates with a wide variety of possible perceptions.
This is like a different language altogether for me but now I get why I like these guys so much lol
STU is a genius! Upvote the KGLW zelda demos
You gave us the video we dreamed of, and so fast too! Impressive. I really look forward to following this channel, you spoil us already.
Is the rest of the album mostly variations on those same rhymtic themes or are they interesting enough to warrant their own video later on?
There are a bunch of songs off of Polygondwanaland that are worth analyzing for sure. Some of them use longer irregular meters (such as Loyalty, which prominently uses 11/8), whereas Crumbling Castle tends to stick to smaller meters. Also there are other techniques such as double truncations (I think Inner Cell does this) which are pretty distinct.
If I had the time and resources, I'd flood this channel with King Gizzard analyses. But there are other bands/songs I want to look at as well, so it might be a little while before I do more King Gizzard. And when I get to it, it might be something off of Sketches of Brunswick East or PetroDragonic Apocalypse or something.
incredible analysis
new favourite music theory channel 🙏🙏 would love to see u analyse some black midi/geordie greep, smth like dangerous liaisons has so much complexity that no one seems to have unpacked yet lol. sick video!!!
Amazing analysis. It's hard work here.
nice job man, love this analysis! I'd love to hear you talking about Breathing Underwater by Hiatus Kaiyote if you ever take requests? cheers
That's a great suggestion! I normally don't take suggestions unless a dozen people are asking for the same thing. But I will put this on my list for if I ever need ideas.
Fantastic analysis, hats off!
How did you manage to notate polymetric time signatures? I was just researching it because I needed it for a composition but sort of gave up: Musescore interprets different sigs on different staves as polyrhythms rather than polymeters; the only software that natively interprets them as polymeters seems to be Dorico, but that came with its own load of baggage...
On your score it looks like the font is Leland, which suggests Musescore, but the playback animation looks different. So I’m confused, but also applaud you for wrangling whatever software you use to correctly display this beauty.
I did in fact use Musescore, but had to really screw around with the formatting. Basically, if I wanted simultaneous 5/8 and 4/8 meters, I would go to measure properties for a single measure and set the actual value to 20 eighth notes. Then I would go to time signature properties and set the text to be 4/8 or 5/8 for whichever staves I wanted. Then I would fill in the actual sheet music, and manually add barlines where the measures should be.
For other things like changing time signatures halfway through that long measure, I had to resort to Photoshop, leaving space in the formatting with an extra eighth note that I made invisible. The playback animation is custom as well, using two copies (highlighted and unhighlighted) of the sheet music which were cropped in time with the music in Adobe Premiere. Very tedious but not that hard to figure out. My buddy who helps me with the grunt work for a lot of the video editing hates me for this though, lol. Still, I think it looks way better than the whole 'scanning bar' thing you get with most programs.
@@ThePopDescriptivist I suspected it would be some kind of display value shenanigans like that, thank you for your super straightforward explanation. But then Photoshop and custom playback animation in Premiere?! Your commitment commands the utmost respect sir.
In Terry Pratchett's Discworld, magic is the eighth colour, visible only to wizards and cats. Perhaps the fourth colour here is only visible/audible/makes any sense to crazy musicians.
Perhaps 'makes any sense'. I think we're all seeing/hearing it, but seeing/hearing is not the same as noticing.
Wish I saw this before I recorded a cover lol
I'm glad I didn't rob you of the opportunity to figure it out on your own. That sort of thing is great for developing your own understanding and mastery of music.
Listened to the cover btw - it's pretty good! Maybe a little sloppy or inaccurate in places, but it's not an easy song.
@ThePopDescriptivist thanks a lot for listening to it (I didn't mean to advertise myself haha) of course I was mostly joking, I loved working it out myself :)
Can you do witchcraft by king gizz? that polyrhythm breaks my brain
also subbed I love this
You're in luck - I was actually thinking I would do that song next. I have a few non-KGLW videos to get to first though. Have patience!
look up what tetrachromacy is. it has to do with the 4th color. you have an extra cone in your eye. it is a real condition.
I'm familiar with the concept, but unfortunately, the few confirmed human tetrachromats don't seem to actually see 'new colors' in the sense that these songs imply with their lyrics. Rather, there is enough overlap in the frequency range to the regular three human cones that these people merely have enhanced color discrimination. I think the theory is that the 'opponent process' of interpreting color on a neurological level cannot adapt to more than three color inputs. Fascinating stuff nonetheless.
I appreciate you transcribing, but you could have used the actual audio for this one, there's no copyright!
Although the midi does clear up any confusion :)
@@colebarringer5055 what do you mean by “there’s no copyright”?
Lol completely forgot about that! But yes, my instrumental version might serve as another valuable perspective. And also, I don't trust TH-cam to always make the logical leap of 'no copyright = no copyright strike'.
@@samsquanchmetazoo the band released this album without any copyright claims, saying something like "it belongs to the fans"
@@ThePopDescriptivist I'm pretty sure it could still get some kind of claim even though the video would certainly not be taken down, I've done covers of songs from this album that have been flagged for copyright
In the second D Section, is the percussion not in 5/16? i learnt the bassline to Crumbling Castle and at that point in the song i always played along to that percussion because it lines up.
I took another listen, and I don't think I'm hearing it - maybe what you're describing is the drum part, which has that prominent rimshot which matches the 5/16 patterns used in the bass. What I described as 'percussion' is specifically that sort of 'knocking' sound in the right channel. If you watch the KEXP live version of 'Crumbling Castle', you can see Eric playing this part with a rim click on the snare of his drum set. This part is in 2/8, or potentially you could notate it as part of a broader 5/4 figure.
My heeeeead
Can you explain what happens in the song Walkie Talkie from Palm please
I love Palm, and "Walkie Talkie" slaps. I'm definitely going to do a Palm video at some point, though I may choose one of their more conceptually rigorous songs, like the metric modulations in "Color Code" or the unnatural sounding stress patterns in "Dog Milk".
Was there a specific question you had about "Walkie Talkie", or were you just looking for a general overview? I could write a few paragraphs if you wanted to understand a particular riff or something.
@ThePopDescriptivist a overview will be great in pecial the intro, I like the strain in the chords, but anything from Palm will be great, thanks for answer
This is the "Who is Pepe Silva" meme in music theory form.
That part at 16:30 hits so hard and now I understand why. Thanks!
Subbed to find out about more Gizz content 🐊
@@inkedmamajama he’s got one on their use of microtonal scales that is top notch