![]() But there are times when the regional weather changes a lot more dramatically and over a longer period of time, as a butterfly effect of a phenomenon occurring thousands of kilometres away. Add tension with your vocal. If you’re working on a vocal track with someone, why not have them stress the words at certain points to add tension? In Never Be Like You, we can hear this happening all over the place and especially during the last 4 bars of the bridge.The weather around the world is a fickle thing, capable of changing in the blink of an eye.If your chorus is strong, don’t be afraid to repeat it. There’s nothing wrong with copy & paste. Flume has clearly done it in this track.We hear a more subtle vocal enter the background during the last 8 bars. A squeaky synth plays a chopped-up sequence over the top. The same wobbly synth plays the same chord progression underneath (although it sounds a little more tamed here). Bars 81-96 (Chorus)Īgain, exactly the same as the first two choruses. The pad and string combination keeps things in place for the first eight bars before being accompanied by a set of staccato strings, adding tension and building into the final chorus. We hear the bell-like sounds from the intro come fade back in. The vocal changes, both lyrically, melodically and rhythmically. But composition and arrangement? It’s quite straightforward, and the bridge is a good example of that. In terms of sound design, they’re probably right. Bars 65-80 (Bridge)Ī lot of people seem to think that Flume’s music is complicated and complex. This is exactly the same as the first chorus apart from a slightly different transition at the end. I’d love to hear your thoughts though, so feel free to leave a comment. Note: This is where I move into the realm of subjectivity, but I do feel like the second chorus sounds less energetic than the first due to the fact that there’s less contrast. It’s higher energy than the first verse, but still contrasts nicely with the chorus. A sub plays underneath the pad and strings in the second half.We don’t hear the atmospheric bell-like sounds. ![]() Verse 2 differs from the intro verse in the following ways: Key Takeaway: You don’t need much to “lift” a chorus. A catchy vocal sequence is introduced along with a wobbly pad/synth (I felt like saying Flume-like pad/synth… it really is the best way to describe it).Ī drum fill leads into the next 8 bars, where the only new addition is a hi-hat sequence and an extra percussion sound or two. Bars 17-32 (Chorus)įlume’s signature style comes out strong in the chorus.įirst, we hear the downbeat, which features a kick with a trap-esque chant sound. In this case, it’s the addition of elements (strings), the way the vocal is sung and processed, and the quick low-pass filter coming down during the last bar. Note: Notice how there aren’t any risers or snare rolls? You can build tension without them. When Kai sings “Never Be Like You” it’s kind of stressed, which adds tension. The same phrase leads nicely into the chorus at the end of this intro verse.ĭuring the second 8 bars of this section, we hear some strings playing the same chord progression. ![]() ![]() The bell-like sounds we hear in the pickup continue, but are now sitting on top of a vocal and detuned pad. “In music, an anacrusis (also known as a pickup) is a note or sequence of notes which precedes the first downbeat in a bar in a musical phrase.” Bars 1-16 (Intro/Verse) It’s makes sense to give this its own section of “Pickup” instead of including it in the full structure. But the main elements are there.Īt the start of the song, we hear a collection of atmospheric bell-like sounds that play by for four bars. This is not complete, as I couldn’t have realistically included every little detail. You can check out the Google Sheet here (make a copy of it yourself if you want to edit it) or click the image below to enlarge it. It’s a little bit shorter than normal, but this track is pretty straightforward. In this week’s analysis, we’ll be looking at one of his more recent tracks, Never Be Like You ft. ![]() I played it at every gig and everyone else loved it too. I remember the first time hearing Holding On’. He’s young, he’s a genius, and he’s a pioneer. ![]()
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