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Losing the 'one' in tracks and knowing it


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24 minutes ago, psn said:

Because there's a ton of deceptive stuff going on.

- The intro is six periods long.
- The buildup at the tail of the intro leads to a one that is simply dropped. 
- The bass enters at the three, which weakens the feeling of the one. And on every other (or so) turnaround the bass enters with an additional syncopation (lands on the three-and).
- The second half of the bass phrase accents the syncopation just ahead and just after the downbeats.
- When the vocal sample first enters, the one is omitted again. Repeats several times throughout, with the last syllable of "it's never enough" landing on the four-and, and then the one being omitted.
- The bass line and the vocal phrase seem to pull in different directions away from the one.
- All of this seems to be particularly effective with the skitterish house beat that doesn't really have a solid back beat. It can be almost be felt as "one - one - one - one" rather than "ONE - two - THREE - four".
 

yeah sure, it is very syncopated but it's pretty clear where the 1 is nonetheless. to me anyway. 

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Yeah, that's the funny thing - it's super easy once you have it right. 

I have finally reconditioned my brain to the actual one of the first half of  Spirits in a Material World. Only took me 37 years or whatever... Still struggling with Fight Fire With Fire. 😄 

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10 hours ago, Zephyr_Nova said:

Do Thom Yorke/Nigel Godrich do this on purpose?  Happens all the time with Radiohead too. 

yep. and Thom/RH have been know to say stuff like oh yeah, there's no time signature in such and such a song, when in fact it is 4/4. makes it all the more cryptic I guess.  

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Cool thread. I struggle with this track personally:

Also I find with a lot of more dense stuff I dont lose the one but the 2 3 4 are completely lost to me, and it definitely feels like im not able to experience the music correctly because of it, because it makes so much more sense when that doesn't happen, because stuff that should "line up" doesn't. 

Do you tap along? Are you conscious of keeping time while listening?

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10 hours ago, psn said:

Yeah, that's the funny thing - it's super easy once you have it right. 

I have finally reconditioned my brain to the actual one of the first half of  Spirits in a Material World. Only took me 37 years or whatever... Still struggling with Fight Fire With Fire. 😄 

Do you hear the snares as the 1 2 3 4 on the verse too?  Then suddenly there's a totally fucked riff on the prechorus that barely makes sense, and then the chorus is normal?  Because I think that's the only way to hear it.

Combustion is Meshuggah's Fight Fire with Fire.

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1 hour ago, Zephyr_Nova said:

Do you hear the snares as the 1 2 3 4 on the verse too?  Then suddenly there's a totally fucked riff on the prechorus that barely makes sense, and then the chorus is normal?  Because I think that's the only way to hear it.

Yeah, that's how I've always heard it. And still hear it, even though I know it's offset.

I think Lars' relatively weak pedal work has to do with it, too. He really lays in on the snare groove wise, plus the kick is mixed relatively low for a thrash metal recording. There's a solo drum part with double bass drums after the guitar solos, and even here the downbeat isn't really accentuated that well.

The Art of Guitar did a nice breakdown a while back.

 

Edited by psn
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omg that prechorus riff is so bad ass now that I'm actually hearing it properly.  I would have been 9 years old when my cousin dubbed a cassette of that album for me, so... 29 years of hearing it wrong.  At some point I at least realized that, but could never correct it.

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Yeah, that riff is sick. I usually hear some odd metered prog bonanza the first time it plays, then calibrate to the proper one the second time around.

 

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