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Cobalt Blue

Cobalt Blue - in 4/4 time - is a dark and menacing Space Rock song.

Structure

• Intro: simple structure fade in drum feature
• Verse 1 (no bass)
• Verse 2
• Chorus: uses basically the same chords found in the verses with the only differences being that there are more layers being created by more instruments, i.e. keyboards are louder, fills on the guitar, and, of course, the phrasing of the lyrics is different
• Verse 3
• Bridge
• Solo
• Chorus
• Coda: simple structure fade out drum feature

Analysis of Music & Instrumentation

The song fades in with the drums establishing the tempo. Soon after, beats 1 and 3 are accented by a strumming pattern on guitar. The chord progression is based off a tri-tone movement from B minor to F major (flat 5). This is a somewhat jazzy concept as tri-tones are frequently used in jazz music. There's plenty of modulation occurring with a shift in key centre, starting in one key (centre) and then changing to a new one. That is, starting in B minor and shifting to D flat, and so on. The bridge section [2:17] is composed of a chromatic melody - descending in semitones - which creates tension in the music, intensifying the existing darkness (to pitch-black). The guitar solo starts off unaccompanied closely following the chromatic keyboard melody from earlier on; therefore, still following the chromatic movement. A key centre is established again around F, going through a 1, 7, 6 style progression. With regard to scales, the dark sound is created by the use of the Aeolian/natural minor scale and diminished scale with some chromatic movement also present. There are three different progressions all up: verse, bridge and after bridge (solo) progressions. The drum beat is repetitive, mostly well measured but occasionally lags. Overall, the vocals are powerful and on key with some flatness at 2:00. Some interesting sounds throughout the (chromatic) bridge section are made by strumming the strings behind the nut of the guitar (which is the area on the headstock where the strings are going towards the tuning pegs, off the neck), creating a high harmonic sound similar to violin strings being plucked/picked. The bicycle bell is effective too! The guitar solo starts off using a monophonic texture, i.e. a single melody with no melodic accompaniment - just drums. The whammy bar is also used. The guitar solo is mostly pentatonic with some Aeolian at 2:57.

Interpretation of Lyrics

At face level this song is about the isolation and depression felt - whilst on tour - when travelling through, or stopping at, some of the unremarkable, blue and dreary, arid ghost towns in (California) America. Even if your "fortune's up" these places will rob you of your fortune's high (luck) and "lead it down". They're so depressing with their perpetual watchers waiting for the chance to mingle with you at, for instance, a motel bar. Up or down, right through, you want absolutely nothing…nothing…nothing to do with them. You just want to be left alone with your thoughts about your fortune and what not. You turn your head up (at them) and "let it all cocoon".

I can imagine these places would give you a co-bolt of the blues. How depressing. Small and claustrophobic like a telephone box. They're invasive, even incursive, picking you apart and trying to break into the chambers of the outside world that you have the keys to. They are persistent, though. They try to pick your locks, but they should "let it go" as there's nothing there that they could know.

At a deeper level, you say? Bluemin' hell, I don't know!

Dijanaxxxo

Right you are, Mr. Finicky. I stand corrected - ta!

And thank you for the praise, Stefan.

Dijanaxxxo

Deadman's Hand

The song is in 4/4 standard time in the key of B minor.

The main riff is based off the minor Aeolian scale with a descending pattern going from:

1 ([tonic note] B) - 5 (F#) - flat 7 (A) - 4 (E) - flat 6 (G) - flat 3 (D) - 5 again (F#) - 2 (C#) - 4 (E) - root (B).

Then it reverses and ascends through the same pattern.

Straight after the intro the counterpoint melody occurs between two guitars: one playing a scalic style motif with slides while the other one plays an arpeggiated style motif. This concept continues throughout the verse and drops out to just the bass and arpeggio lines during the chorus. The main ostinato - played by the guitar and bass - almost swings with a triplet feel.

During the chorus section the bass switches to a straight 8 (semiquavers) feel to create more of a pulsing effect. The chorus, which is polyphonic in texture, particularly the third time it appears (2:31 - 2:51), is very dense (texturally) due to the superimposed instruments - namely, keyboards (with reverb); natural feedback harmonics from the guitar (heard in the distance); the thumping bass; driving drums, and the whispery style vocals with reverb - playing multiple melodies, therefore, creating a very full, ambient sound.

After that, all but the drums and guitar are silenced whilst the main ostinato is played again. This highly effective technique of easing the intensity in the music prepares the listener for the peak section of the track: the guitar solo section. Furthermore, it is in contrast to the texturally rich chorus beforehand, so it creates a feeling of suspense - the calm before the storm, leading into the climatic point, i.e., the GSS.

Pangaea

• 4/4
• Intro starts off with an arpeggiated A minor 6 chord implying the use of the Dorian mode (Natural 6 instead of a flat 6, like Aeolian)
• Possibly the most interesting bass playing on the album. Again, much like Deadman's Hand, the main ostinato during the verses is based off a 1 to 5 concept - based off a power chord. The note selection is: E, C, B | D, B, A | B, F#, G. The actual delivery of this riff makes it interesting. Each part starts with two pulses on the leading note, for example E, and then there's a little pivot between two other notes e.g. C to B. The swooping slide up to the octave B is really nice - and creative. Steve combines the rhythmical and melodic aspects at the same time as keeping a pulse, which all in all manufactures a very soothing melody. Altogether it really is rather ingenious!
• A distant 12 string guitar can be heard in the background during the verse using a strumming pattern which weaves in and out of the beat specifically accenting the 1 and 3
• Another interesting concept presents itself when a second acoustic guitar enters about mid-way through the verse accenting beats 2 and 4 in particular while the other guitar is accenting beats 1 and 3. So playful … like a game of ping-pong
• Wonderful chorus, with its waves of sound flowing from the word "Pangaea" and the guitar gently riding the vocal wave with a slow bend, adding more mist to the reverb and delay filled air (of the vocals)
• Just after the chorus there is a brief guitar interlude (1:09-1:20) (arpeggio) section which sounds like raindrops hitting water (drippy sound)
• Pronunciation aside, interesting phrasing on "Pangaea", with nice vocal slides
• Guitar solo very medieval sounding especially with the accompanying cello
• Guitar solo based off a pedal tone concept, choosing a drone note and then ascending and descending while returning to the note, e.g. E, D, E, C, E, B, E, A, E, etc. This technique was used greatly during medieval times and in a lot of baroque music
• All of these musical concepts flow together well to really paint an image of an old world: haunting cello, bright and rusty sounding acoustic guitar, swooping bass, crying vocals, watery 12 string guitar. Images: Birds soaring, oceans, forests, landscapes, blue skies …

On Angel Street

The song begins with a peaceful pulse on the organ, followed by a looming, scratchy guitar, playing lines in the background. Vocals enter soon after, progressing slowly and building texturally. A keyboard slowly fades in followed by chords being strummed on a very bright and ambient sounding acoustic guitar, intensifying the atmosphere. Volume swells on the guitar deliver a haunting cry similar somewhat to a violin weeping. The music is shaded further by the low growl of the bass, consoling - with its smooth and soft melody lines - the crying guitar. Finally the song almost becomes tribal with the sounds of a bongo playing distantly in the background with the swirling swish of the cymbals in the foreground, and a glassy sounding guitar delivering waves of sound (4:41) accompanied by a murmuring, dancing bass line.

Lunar

An abstract on abstract music

• 4/4
• Intro features an oriental sounding (synth) flute
• Slightly dirty guitar, drenched in chorus and delay
• Sounds like a war chant/march
• Pounding bass drum creating a 'march' feel
• Thumps land on beats 2 and 4
• Counterpoint melodies are heard throughout between vocals and oriental flute sound at 1:02-2:01. This section can actually be considered polyphonic since the bass line is also playing a variation of the melody, so you hear the flute, vocal and bass melodies at the same time
• Bass line is quite busy with the little descending run melody during 1:02-2:01 based off triplets
• An abstract song in terms of the flute sound; the note choices for the vocals; the strange, high harmonic sound at 2:08 that leads into the last section; the abstract structure, i.e. no specific verses or chorus; the long pause at 2:04; the last fragment, which changes the song completely, making it sound like an entirely new song; the unusual harmonies, and the brief dissonance at 2: 55 as a minor second harmony - between the vocals and the synth sound - clashes with the primary one
• Harmonically this song is probably the most diverse song on the album, containing some unusual chord sequences and chord choices showing experimentation, for example, the augmented chord into a resolution at 2:59