Obligatory algorithm comment expressing appreciation for long video, sorrow for upcoming absence, good luck for upcoming academic struggles and one additional appreciation for awesome Florid Ekstasis teaser.
The Greylotus album is cool, I need to listen to it more. I've been listening to Alustrium since their latest came out too, they quickly became a favourite. Sick band.
Good luck with your dissertation dude! Gonna miss the vids but fully understand you needing to really hamper down and focus on the goal at hand. Hope everything goes well and welcome your return.
Man I was skipping about this to see what riffs were covered and about 50 mins in I though 'I wonder if he'll ever cover Instrumental adj.' And then you did. If you message the guys on facebook they're really chill and they'll send you transcriptions (at least I got them when that first EP came out). Some of the most complex 'metal' music I've ever laid my eyes on at the time. Pulse preseving tactus modulations out the wazoo.
somehow i feel guilty for throwing these instrumental adj and chon clips at you in this series lmao but i really enjoyed where you went with this one! hope things in profession go smooth as they can be the beat is 19/16 btw, 5s and a 4. iirc the drastic tempo shifts in the straight quintuplet explosions are just expressive since they didn’t record it to a click. outstanding stuff
Haha sorry I feel like I either get it wrong or avoid the question for a lot of your suggestions, but hopefully it's still interesting to watch! Thanks for the challenges!
Yo thanks for transcribing that Bekor Qilish riff (please e-mail me a copy of that GP file for my records, if you don't mind). I think the thing which makes it so tricky, even after the drums come in for context, is how many of those low C# sixteenth notes you get each time that little tremolo-picked thing comes in. The first few times it's four, which suggests there's some sort of underlying quarter note context, but then it changes -- that 000006 0006 figure ends up lining up with a dotted eighth note pulse (sort of more in line with the 12/8 time signature but still distinct). Really cool. I also think that Florid Ekstasis excerpt is fucking excellent, so doubly excited for that now. That said, I think your appraisal of 'Mirror Mirror' is sorta inaccurate. Allow me to explain (pardon the wall of text): What you are hearing as the main tactus is, I believe, actually the overriding 3-pulse pattern of a 3 on 4 polyrhythm (or perhaps pseudopolyrhythm, as I'll explain). The whole drum groove makes a whole lot more sense if you hear the underlying 4/4 meter: freeimage.host/i/HCt8Ll9 Given that you were trying to hear this squeezed underneath a 3/4 (?) meter, I'm not surprised you thought this was microrhythmic. Basically, it's one 4/4 meter repeated over and over, with the snare pretty much carrying the rhythm. As you can see, there is no hit on the 1, though sometimes you can hear a hi-hat softly play there. A little weird on its own, but the real complexity comes with where the guitar chords choose to accent this pattern. They select accent points on the 'a' of 1, the 3, and the 'and' of 4 -- three potential accents in each measure --- and the guitar plays on every other one. Already this is sort of a 2-on-3 polyrhythm, but the accent points are not quite evenly spaced. They have 'distances' of 5, 6, and 5 sixteenth notes, which makes the whole thing more of an isorhythm than a polyrhythm (depending on how loosely you use isorhythm -- perhaps this is actually better called a pseudopolyrhythm). Now, here's the real trick... since the guitar is playing every other accent, the total distance between the guitar chords is 5+6, 5+5, and 6+5 -- or, 11, 10, and 11. This is very close to evenly dividing the two 4/4 measures into thirds (which would be 10.666 sixteenth notes). But in another sense, it is possible that the guitar is playing these chords as 'whole note triplets' - it may be that the distinction between the two is so small that it's basically beyond level of human perception. This latter interpretation is strengthened by the idea that not only is the guitar playing every other accent, but it's also alternating between two different chords, which adds another layer of 2-on-3 (the kind of thing that tempts us to hear the whole note triplets as being more 'fundamental' and therefore as being evenly spaced). This isn't the first time Palm has used this kind of trick of picking two different tacti that line up very closely at certain key points. I think I've also mentioned to you their song 'Bread' -- at 2:16 there is a riff which has the guitar playing in 5/8 (as 1 2 + 3 + ), and the drums playing in 8/16 ( + 2 3 4 5 6 + + ) so that both of those measures last the same amount of time. In other words, a true 8-on-5 polyrhythm (the fact that a snare accents the drums are mainly accented on the evenly-spaced '2' and '6' further emphasizes the 'even' feeling on this riff). The way Palm is able to get away with this monstrosity is due to how the guitar's '1' fills in the first '+' of the drum groove, and the guitar's '3' aligns with the drum's '6'. Technically, these line-ups should not be precisely the same - in terms of 'percent of a whole measure', they are lengths of 60% and 40% in the guitar, and lengths of 62.5% and 37.5% in the drums. But these distances are close enough that the ear can't really distinguish them and everything still sounds lined-up.
i'd love if you looked at Came by Sexual Jeremy on their album: The Real Sexual Jeremy... the whole track/album is bonkers, but @ around 3:26 things get absolutely insane. i have no clue what's going on.
This one was pretty intense, some of those sections were just aurally jarring even with keeping time. Grab your frickin' Abacus, very cool man.
Deerhoof! nice analysis
Obligatory algorithm comment expressing appreciation for long video, sorrow for upcoming absence, good luck for upcoming academic struggles and one additional appreciation for awesome Florid Ekstasis teaser.
The Greylotus album is cool, I need to listen to it more.
I've been listening to Alustrium since their latest came out too, they quickly became a favourite. Sick band.
Good luck with your dissertation dude! Gonna miss the vids but fully understand you needing to really hamper down and focus on the goal at hand. Hope everything goes well and welcome your return.
Man I was skipping about this to see what riffs were covered and about 50 mins in I though 'I wonder if he'll ever cover Instrumental adj.' And then you did. If you message the guys on facebook they're really chill and they'll send you transcriptions (at least I got them when that first EP came out). Some of the most complex 'metal' music I've ever laid my eyes on at the time. Pulse preseving tactus modulations out the wazoo.
man, I’ll miss your videos. promise you’ll be back!!
I promise!
We're all very proud of you.
somehow i feel guilty for throwing these instrumental adj and chon clips at you in this series lmao but i really enjoyed where you went with this one! hope things in profession go smooth as they can be
the beat is 19/16 btw, 5s and a 4. iirc the drastic tempo shifts in the straight quintuplet explosions are just expressive since they didn’t record it to a click. outstanding stuff
Haha sorry I feel like I either get it wrong or avoid the question for a lot of your suggestions, but hopefully it's still interesting to watch! Thanks for the challenges!
@@metalmusictheory5401 hahaha it’s totally chill, as long as they work as prompts that’s the important part
Yo thanks for transcribing that Bekor Qilish riff (please e-mail me a copy of that GP file for my records, if you don't mind). I think the thing which makes it so tricky, even after the drums come in for context, is how many of those low C# sixteenth notes you get each time that little tremolo-picked thing comes in. The first few times it's four, which suggests there's some sort of underlying quarter note context, but then it changes -- that 000006 0006 figure ends up lining up with a dotted eighth note pulse (sort of more in line with the 12/8 time signature but still distinct). Really cool. I also think that Florid Ekstasis excerpt is fucking excellent, so doubly excited for that now.
That said, I think your appraisal of 'Mirror Mirror' is sorta inaccurate. Allow me to explain (pardon the wall of text):
What you are hearing as the main tactus is, I believe, actually the overriding 3-pulse pattern of a 3 on 4 polyrhythm (or perhaps pseudopolyrhythm, as I'll explain). The whole drum groove makes a whole lot more sense if you hear the underlying 4/4 meter:
freeimage.host/i/HCt8Ll9
Given that you were trying to hear this squeezed underneath a 3/4 (?) meter, I'm not surprised you thought this was microrhythmic.
Basically, it's one 4/4 meter repeated over and over, with the snare pretty much carrying the rhythm. As you can see, there is no hit on the 1, though sometimes you can hear a hi-hat softly play there. A little weird on its own, but the real complexity comes with where the guitar chords choose to accent this pattern. They select accent points on the 'a' of 1, the 3, and the 'and' of 4 -- three potential accents in each measure --- and the guitar plays on every other one. Already this is sort of a 2-on-3 polyrhythm, but the accent points are not quite evenly spaced. They have 'distances' of 5, 6, and 5 sixteenth notes, which makes the whole thing more of an isorhythm than a polyrhythm (depending on how loosely you use isorhythm -- perhaps this is actually better called a pseudopolyrhythm).
Now, here's the real trick... since the guitar is playing every other accent, the total distance between the guitar chords is 5+6, 5+5, and 6+5 -- or, 11, 10, and 11. This is very close to evenly dividing the two 4/4 measures into thirds (which would be 10.666 sixteenth notes). But in another sense, it is possible that the guitar is playing these chords as 'whole note triplets' - it may be that the distinction between the two is so small that it's basically beyond level of human perception. This latter interpretation is strengthened by the idea that not only is the guitar playing every other accent, but it's also alternating between two different chords, which adds another layer of 2-on-3 (the kind of thing that tempts us to hear the whole note triplets as being more 'fundamental' and therefore as being evenly spaced).
This isn't the first time Palm has used this kind of trick of picking two different tacti that line up very closely at certain key points. I think I've also mentioned to you their song 'Bread' -- at 2:16 there is a riff which has the guitar playing in 5/8 (as 1 2 + 3 + ), and the drums playing in 8/16 ( + 2 3 4 5 6 + + ) so that both of those measures last the same amount of time. In other words, a true 8-on-5 polyrhythm (the fact that a snare accents the drums are mainly accented on the evenly-spaced '2' and '6' further emphasizes the 'even' feeling on this riff). The way Palm is able to get away with this monstrosity is due to how the guitar's '1' fills in the first '+' of the drum groove, and the guitar's '3' aligns with the drum's '6'. Technically, these line-ups should not be precisely the same - in terms of 'percent of a whole measure', they are lengths of 60% and 40% in the guitar, and lengths of 62.5% and 37.5% in the drums. But these distances are close enough that the ear can't really distinguish them and everything still sounds lined-up.
The secret must be the French spotify
i'd love if you looked at Came by Sexual Jeremy on their album: The Real Sexual Jeremy...
the whole track/album is bonkers, but @ around 3:26 things get absolutely insane. i have no clue what's going on.
Hello :)
🤓🤓🤓🤓🤓🤓🤓
hey man do you speak french??
un peu
@@metalmusictheory5401 i speak italian so i presume this means " a little bit"?