tricot - 18, 19 | Audiotree Live 

can we talk about the drummer being able to drum all that?

can we talk about how ridiculously difficult is the rhythm of this song?

the harmonies are so beautiful

SO MUCH... this whole set kicks, i like on the boom

100% agreed. flawless

Album version is great, but yeah 100% agreed, this is better than that one.

It does. I bought III vinyl for $65, sold it a month later at zero gain. It just didn't compare to this.

If you want to really get into the reeds, it’s even wilder than that. The way they feel the 9/8 makes it sound like it’s 4 and a half over 4. So the first measure when the drums count off is 4 eighth notes in 4 and a half/4 starting on the and of 3. Then the intro is 8 measures in 4 1/2 (or 9/8), except the 2nd measure is just 4/4 and the 7th measure is in 5/4. Then the woo hoo bit is all 4 1/2 (9/8) except the last measure where the drummer does the three stick hits at the end, which I think is supposed to be 12/8, but if so then the drummer might have got off by a hair, but it’s barely noticeable since he’s counting off the next measure (or he’s doing 6 beats plus a half beat at the end to reference the 4 1/2 motif, but idk). Then during the verse it’s 4 1/2 which you can really hear since the bass player plays 4 quarter notes and then an eighth note for each measure. The measure before the chorus is in 5/4, then the first 3 measures of the chorus are also 5/4, but the 4th measure is in 4 1/2 (9/8) again. Next 4 measures are in 5/4. Back to the verse in 4 1/2 again. First 3 measures are in that, then the 4th measure is whack but I think it’s in 11/8, then the next measure is back in 4 1/2, then the one after that is in 11/8, then the next one is 5/4, and then the last one in this section is in 7/4. They switch to a slower 9/8 for the mellow section, except every other measure they do this weird thing that I’m not even sure how to write as a time signature, but it’s referencing the 4 1/2 feeling from earlier by adding a half beat to the end of the measure. So the section alternates between a measure of 9/8 and a measure of like 9 and a half/8. Then the last bit of this section is either a measure of 5/4 in the same tempo followed by a slower measure of 4/4, or that bit I’m hearing as 4/4 is actually syncopated with same tempo but I have no idea how to count it. Either way, it leads back to the 4 1/2 (or 9/8) verse again. They do 3 measures of 4 1/2 then one measure of 5/4, then 4 more measures of 4 1/2. It switches to 2 measures of 7/8 in a different tempo, followed by 2 measures of 4 1/2 in the original tempo, followed by 2 measures of 7/8 in the other tempo, then 1 measure of 4 1/2, then it switches to 5/4 for 5 measures in that epic lead up to the final chorus. They do the 8 measure chorus. It’s all in 5/4 except for the 4th measure, which is in 4 1/2, and the 8th measure, which is also in 4 1/2. The outro where she’s going “18!19!” goes insane. 1 measure of 9/8, one of 11/8, one of 9/8 and then one of 11/8. Then the whoa oh oh part stays in 11/8 for 3 measures and the measure after that is 13/8. Then it settles into a 6/8 groove for a bit before ending in 5/4. I cannot begin to fathom how someone even conceives of writing a song like this.

The clearer way to write it is 9-9-10-9, 10-10-9-10... that's shows what the idea is (18,19 -> 20,19)..

@@greggerypeccary YOU BLOW TOTALY MY MIND, THANK YOU

holy shit, he's literally a machine

Dude's a beast.

Really nice. These percussive fireworks are a hallmark of what distinguishes "mathrock" as a style or progressive genre. Transcending 4/4, or, even within it, offering contrapuntal and interpretive flourishes that push musicality to titillating auditory climaxes. Somehow, I relate this to segments of Archie Shepp's Hambone. The drummer Evan Burrows - in the band Behavior - also pushes the dissociative integration of his limbs into astounding rhythmic inventions.

@@elment-8274 yeah what he said

I’m practicing this song but this part killing me haha

she is amazing, this song is a piece of art

its cool bro, really dope bass riffs

Hirohiro is one of the most creative and inspired bassists I've ever heard. Love what she adds to the band--in many ways, her bass work is the foundation to a lot of their songs.

Yes, so good

tricot is one of those bands that make me wish i'm a bass player lol

best part

That makes me laugh so hard 😂 FYI This is what the lyric says: 「2人夢のように暮せば」 [futari yume no yōni kuraseba] “If we two lived like a dream” It’s so cool, isn’t it?

@@festinalente1729 reminds me of an Air France song.

空耳じゃん！

Un capo poniendo "primer comentario" jajaja

Hahah I like that I’m not the only one to imagine their own music videos to this stuff.

Aw man @2:05 just feels like a huge gust of wind shaking a field of flowers. The whole band springs to life, and it’s such a beautiful breakdown.

njir josuke

Ok Su-chan

18, 19 ":D"

I'm actually trying to transcribe it currently so I'll give an answer: There are a few ways to notate but the main idea is that the intro and verse sections are in 9/8, 9/8, 10/8, 9/8 every 4 measures, which you could count as 18 eighths and then 19 eighths. In the chorus, this pattern inverts, so that it is 10/8, 10/8, 9/8, 10/8, so it's 20, 19 there. The slower part after the first chorus and intro repeating is 9/8, 9/8, 9/8, 10/8. When it builds up, it continues but then there are brief slowdowns which are in 7/8. The first part of the second chorus before the instrumentation kicks in stays in 10/8, and then it returns back to the 20, 19 pattern. Yes, that also means the part where Ikkyu says "18, 19" is actually 20, 19. Then it goes into a 12/8 breakdown, and when the intro repeats it stays in 10/8 until the last two measures where it is 9/8 then 4/4. EDIT: If anyone is interested, I uploaded the transcription (drums) to my channel.

@@BedrockSolid Thanks. As someone who can't count beyond 4/4 it's always interesting to see how their songs are structured...

@@greggerypeccary No problem! I'm trying to figure out how to count it honestly, it's really easy to lose track unless you're used to playing in these odd time signatures.

Standing near her, I felt like I was towering above her. I'm only 5'7". I don't get to feel that tall too often. Haha.