hey chris liepe here with a vocal analysis for like a villain band bad omens singer noah
sebastian this is a great song and there's lots of things to talk about from range grit
articulations dynamics noah is an amazing singer
really excited to go through this song with you and point some of these things out
get ready to try some things with your own voice this is not a typical reaction video i have seen
this video and i enjoy bad omens quite a bit so if you're wanting some commentary and insights as to
how noah gets the sounds that he gets out of his voice and how to work with your own voice in light
of that keep watching or if you just want to watch the video with me and see what i have to think and
if you'd like more help with your own singing and would like to get the foundations down in order to
do some of the things that i suggest you do based off of what we observe from noah
click the link below and join my free voice course that's the best place to start with me
and there's lots of ways we can work together from there all right let's get into this
let me just say that the production on the stuff coming out of sumerian records is just
nuts amazing sounds sonically just so good
his thin child-like head voice listen to this line again
this is not that high we're not the same we're different
he's a true tenor and he has mastered the art of being able to cover quite the range with his voice
he can do the very thin child-like sounds and get gritty and girthy
like not many tenors can but right here he's singing so softly and so tenderly
we're not the same we're different that when he drops down to that that note right there
he's in chest voice but you can't tell because the texture is so close to his head voice
this is a trait of of most tenors but it's also the technique that he's using
very little airflow it's almost whispery even though it's not raspy more to come
consequent consequence that's very difficult to do and hit well consequence
it's right for me it's right on the edge of my
head voiced chest voice when i'm singing with this level of dynamics he's doing it so
well hard enough being alone with myself
notice the belt he's got going on and how he's forming his words in contrast to what he just did
there's almost this plugged nose thing going on tell i'm gonna sing like this and i'm gonna
make sure that over certain vowels my nasal cavities blocked off
if i sing the word tell tell tell versus tell tell i'm squeezing i'm using a little bit more
compression but i'm dynamically limiting my nasal resonance that has that's how he gets that very
forward bright aggressive sound as he's singing clean not that nasality is bad nasality can be a
tool for aggression in different ways but just keep that in mind that's how he's doing that
those sighs are key for maintaining this kind of desperate emotion that
he's communicating here i know you tried your hardest i know that you meant well
but listen on hardest i know you i know you tried your hardest i know and and then here
on hardest and well i know you tried your hardest and i know that you meant
well he's sighing in and out of those things as he's keeping that nice forward aggression
without those sighs it becomes too much those sighs help you lay back in in the performance
a little bit and create that vulnerability that you can't get if you're just on on on
loved the transition
between head voice and chest voice there so neat to hear those two resonances working together and
being separate because at the beginning he was really masking which resonance he was using
oh i love that he he comes right so right a brand new right in
with this mixed voice high tenor sound and then listen to what he does
on that same note he's going in and out of his head voice this is really fun to experiment with
this kind of thing take the same note and practice hitting it in different resonances
so write a brand new page and write again or start soft sort of brand new page
or start really loud and then come back so write a brand new place and right again
really neat limit your range choose just one or two notes and go in and out of those
resonances in lots of different ways this is a huge theme in his singing
notice his his posture here tables sables he's actually kind of low and there's almost this yawn
aspect as he gets more aggressive in this range in his voice he lengthens has a very open throat
he's not squeezing it brand new page it's done right again this adds to the desperation as well
the overall character he's portraying a lot of guys when they're singing in this range
even if they've got a naturally higher voice end up kind of quacking or squawking a little
bit i certainly do but he is able to a lot like connor mason in some ways from nothing but thieves
create this dark yet high light sound even when being more aggressive
notice how come again oh then he he enters this complete abandon the face and the fire part off
of that node so it's oh and then he just lets it completely go and there's some effects that happen
but i love the way that he approaches his screams because they seem to start and end they seem to
be bracketed by this this this child-like innocence around them so when they happen
when when when these moments come in these songs you're just like that it's not overdone
at all they're so they're so welcomed but let's unpack this a little bit more
what we need to think about is singing it without the scream first i'll see your face in the fire
isn't what he's singing but he does start on that note and then letting yourself
just completely abandon if you try to control this too much you're not going to get anywhere so it's
going to be something like this i'll see your face in the fire i'll see your face in the fire
i'll see you facing the fire i'll see your face in the fire
what i'm doing is i'm letting my voice fall apart but i'm really pushing into it in the context of
that note i'll see your face in the fire and then what does he do right after that line
back to that really tender so the arc that he's created with these lines is is stunning
and he's doing it like on time and he's got this amazing pocket going on this right here this type
of character development and arc is what makes that omen's music and noah sebastian's vocals so
fun to listen to it's easy in this type of music to be too intense for too long not so with this
this is another thing to really work on with inspiration from noah
play with the notes they don't have to be the exact thing but he's up there going oh no and
no subtle difference maybe and hard to pick out in the context of the full mix but
sometimes it is a mixed voice dark this isn't down no it's down no and sometimes
it's pure head voice when he leans into it with that childlike sound so no what's
two very different approaches
two very different emotional responses from the listener so subtle and so cool
out of this but also listen to the richness of his voice
when he's singing down here he's he's got a very resonant you can tell he's
experiencing the resonance in his face just from the way it sounds it's not being trapped
inside any form of tension and you can hear the relaxation and the way he size out of his nose
i also like the with the background vocals and he's got the higher octave
up there along with this neat production choice there all right in the center
with some other dancy background vocals that are darkened up even more so cool
me
okay so she's given away a lot here it's very similar to what happened before
where he kind of starts in in a singy way even though this one's a lot more masked
listen to that scream again and listen for the pitch
i didn't need it right it's it's not those pitches really but if we think that way and then
we abandon in that vicinity and listen to all the good the cracky goodness that's going on here also
this isn't real tight it's desperate sounding
side the beginning i didn't need it i didn't need it
there's this looseness and desperation to it that makes it
vulnerable not perfect and it's so good so juicy
you can really hear that at the end there you need me so if we really abandon into
this but have those general pitches in mind notice how it's higher and lower it didn't
you put that in context of what the music is doing and that that pitch level engagement
that's happening with the screams whether he's thinking about this directly or not is so much
stronger than an aggressive type of vocalizing that's more packaged controlled and noteless
that one was in full chest
i know
and in the same song
really really awesome that he has command over the
dynamics of his voice and accessing those different resonances like that
oh is that a great song great singing hope you enjoyed this analysis i really
enjoyed going through this like this and sharing some of the insights from his voice
thank you for requesting songs like this on the channel in the comments this video got made
because of multiple requests for something from noah so keep leaving requests in the comments
and remember if you'd like more help with your own voice on a more personalized level
the best place to start with me is by joining my free voice course linked below see you soon