hey chris liepe here a little bit ago i did a vocal analysis of julian casablancas the strokes
but i chose an older song an oldie but a goodie
and lots of you loved the video and you made sure and let me know thank you so much but
you also mentioned you really ought to check out newer julian and you guys were interested in my
commentary on how his voice has changed and i have to confess i hadn't really listened to the strokes
since that earlier 2000s era so in this video i'm going to listen through for the first time
to selfless we're going to use the music video studio music video uh i'm looking forward to
hearing this based on some of the comments and analyzing and comparing contrasting
younger julian to older and more experienced and refined julian now as i'm listening through
and we're using the studio recording there is probably going to be more stopping than
you would like there's also probably going to be spots missing from the song
and that is because if i don't do that the video will likely be blocked
so i just want to give you fair warning it's not for any other reason that i want the video
to be able to stay up so keep that in mind i'm going to include as much of it as i possibly can
if you'd like more help with your voice and getting the sensations and the necessary
fundamentals in your body and in your voice so that you can apply some of the things that we
talk about in this video 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 that you can go from there all right let's dive in
well the first thing i notice is the incredibly subdued
light posture way he starts with fry and eases into that note very closed off mellow mellow tone
you would have never heard that 20 years ago
it sounds older but good
whoa please don't be long he's using a quiet mixed voice you never heard him doing that earlier
listen to this cause i want you
let's see if he goes into head voice or if he stays in that thin upper chest into into thin mix
wow he's got that down i want you now
you can't really tell whether he's in head voice i think he's in head voice up there
but he's blending his quiet chest voice with his head voice really really seamlessly
and it sounds like a quiet mix when you can't hear that break and you're able to to
extend your chest up like that quietly that's a special thing to be able to do and do it well
and he's mastered that again this is not something that you hear in earlier julian
so right there is definitely some head voice
but listen how he approaches it with life is too short really cool
life is swells on that life chest voice life is head voice life is too short
life is too short talk about interesting i like to draw with my hand in the air while i'm
placing these different notes in my voice and placing what he's doing in my own voice
how he how he goes from that to that pure head voice stanza is really awesome
hear how powerful and somewhat scooped up to that butt i sounds
it sounds a bit mixed and then he he backs off a little bit
for you now i sang that in complete head voice and scooped up to that
and gave it a little bit more volume the way he's joining these phrases together
it it joins these two worlds it joins these two residents together in an amazing way
now listen to the way he changes his tone as he goes up this gives us clues in how we can
naturally extend or unlock better parts of our range why don't you let them judge your body
there's this sense that he brightens up and he uses yeah he's he thins his voice out quite a bit
there but we must not miss what i'm about to say why did you let them still still kind of nasally
and forward hey brian but if i exaggerate what he just does there with with this with my own voice
it's the dying cat that i've been talking about but because he joins
the the two resonances together in such a discreet way you don't hear the transition
like you do in someone like chris cornell for example why'd you let them judge you by
there i exaggerated the transition more right whereas if i go why don't you let them cha cha
hear the difference i create this posture even though i'm singing in chest voice
where i've got a similar tone to where i'm going to end up but it's not exactly
this allows me to sort of secretly thin out my voice
he really darkens up there on the yeah right
so right there in the first section of the song he would have gone life is too short
is life is life is too sure there i got it life is
using nasality using the sensation of the dying cat
to get a mix voice sound rather than just breaking into head voice
how much more brash that one was was a more mixed
did you notice how he he existed in head voice when he didn't need to
that was just a completely expressive choice
right not necessary to break into head voice there but he's saying that whole line in head
voice and now he's low in his chest voice but it's not much lower than he just was in his head voice
his general vocal posture is way different now what i mean by that what is that before
he he pushed to use a lot of vocal compression here he's he's still using compression but he's a
lot cleaner and he's placing his voice as opposed to there yeah like that and kind of being there
yeah he if he were to say yeah the same way in this vocal posture it would be
not yeah it would be yeah yeah yeah
you hear little hints of going the other direction but he's on this laid back
yet really engaged with the different textures of his voice in a very different way
so yeah i mean yeah
versus yeah yeah yeah he might have done those things but it's really cool to hear his evolution
over all these years really really neat thanks for suggesting this and thanks for watching
and engaging as i discovered the new julian casablancas i'm going to check out the whole
album now i thoroughly enjoy his voice now i i liked it before but i really like where he's come
from and what he's made his voice into his use of subtle mixed voice how he's been able to unlock
that thinner not airier but floatier uh floatier version of his voice we'll see it for more