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Alchemy (Cover)

psychedelic blues, acid blues, acid rock, industrial metal, deep dubstep, pornogrind, sharp transients, tube warmth, tube saturation, bright, warm, miami bass, low lifter preamp, folded wave bass phrygian tint, twelve-eight shuffle, industrial grind, dubstep halftime wobble, drop-C chug, power-chord pedal tones, reese sub, formant wobble, bitcrush grit, ring modulation, tape-slap echo, gated reverb, slide accents, anvil percussion, chain rattle, crowd-chant hook, palm-mute chug, pinch harmonics, bus glue, mono-sub focus

Sangderenard·4:59

Lyrics

Header | Meta Tag Structure — Blues Rock × Industrial Metal × Deep Dubstep

They say Power corrupts absolutely

but what about power without greed

sorceror stone

gettin hairy

alchemy

protect my family

keep us safe from treachery

while I adjust the social chemistry

Mix a little hypnotic diplomacy

With a lttle hippocratic democracy

Wake up and plead, we're in need

Time ta cause a scene

For the rich red blood we bleed

In exchange for the green of greed.

(War for profit

We've gotta stop it

Interest in the battle for ya pocket.)

Turn lead into gold

Brightness you can hold

The power of my soul

Told me it was so

There's only one place we go

When We're called home

(War for profit

We've gotta stop it

Interest in the battle for ya pocket.)

Its The power of action

The Savor of satisfaction

Being alive while its happening

Jeckle don't hide but fly the flag high

Pay-tron of the tender paper sky

1910, Patriarchy's pen when monitary blends freedom into sins, signing souls for wicked wins, arms ta twist n bend. Inked in blood and sin, no secrets between friends.

(War for profit

We've gotta stop it

Interest in the battle for ya pocket.)

Party split to dominate

Two heads same lips ta litigate

n contemplate ta desicrate

Ya right ta live n procreate

(War for profit

We've gotta stop it

Interest in the battle for ya pocket.)

fuck the debt held privately

fuck secrecy

duality

Political monopoly

(War for profit

We've gotta stop it

Interest in the battle for ya pocket.)

foundational theory | minor pentatonic, blues scale, dorian color

modal center | E

meter | 12/8, 4/4 halftime

tempo feel | slow drag, driving halftime

tuning | drop C

tuning reference | equal temperament

harmony devices | power chords, quartal color tones, tritone inflection

voicing type | open fifths, low-register doubling

groove dialect | slow shuffle, backbeat stomp, halftime skank

drum kit | heavy acoustic, layered drum machine

kick style | punchy, short tail

snare style | gated reverb, metallic crack

cymbal profile | dry ride bell, tight hats

percussion layer | found metal, anvil hits, chain rattle

bass engine | sub-heavy, formant wobble, reese layer

bass movement | tempo-synced modulation, offbeat swells

sidechain map | kick to bass and pads

guitar system | high-gain tube, fuzz grit, slide accents

guitar articulation | palm mute, chug, pinch harmonics

riff language | call and response, open-string drones, chromatic approach

synth stack | wavetable growl, analog pad bed, granular noise

synth accents | stabs, risers, downshifts

fx design | bitcrush, ring modulation, tape slap, plate reverb

vocal treatment | chest-forward, gravel texture, saturated doubles

vocal adlibs | shouts, crowd call, whispered emphasis

spoken word window | center image, dry-forward

psychoacoustics | mono sub focus, wide upper mids, hardened transients

dynamics profile | tight crest, heavy bus glue

master chain | tape saturation, bus compression, brickwall limit

stereo field | narrow core, widened guitars and fx tails

structure | cold open, verse, chant hook, drop, verse, bridge, final drop, cutout

drop type | dubstep halftime

transition craft | noise sweeps, reverse cymbal, choke edits

outro texture | low drone, distant metal, fading slap

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