I love what I'm hearing and seeing in music right now putting vulnerability over viability
and expression over Perfection it's freeing to listen to and it's freeing when we go to
create music ourselves embrace the mindset of artists like chinchilla and ren not that
they're not good they are fantastic but they do not pursue goodness at the expense of being
truly vulnerable and connected with themselves and with others and you see this not only
in their music but in how they interact with their fan bases I've listened to the studio
version of fingers but I've not seen or heard this live for Hunger TV version lots of you
recommended I go through this one I'm looking forward to seeing what chinchilla does at
the end with some of the improvisational layers that she put in the studio version looking
forward to seeing how she translate that for live I'm sure it's going to be amazing [Music]
all right [Music]
swallowing the words you will say no I'm not okay but let me tell her I'm cold now you're
coming back for more you know me you know a cave but scars will never fade [Music] choosing
her onsets in the middle of words super expressive wonderful thing to do also in addition to
this Smoky tone this Airy raspy slightly compressed sound that she's doing listen to how she has
these runs and these articulations but they take such a back seat to the overall tonal
expression of her voice let's go back [Music] subtle probably [Music]
swallowing the words you will say you know I'm not okay
now you're coming back for more you know me you know I can't but skulls will never fade
soon
[Music] goes clean up oh I love the way she does that here in this live version it's there
there's this to it that that isn't quite as much there in the studio version
okay now let's let's just let's just take that
spot do you hear I'm finishing each note with a bit of a whisper engagement favorite spot
it was hand in hand with her her onset her separating words that aren't normally separated
with a bit of compressed air it's not you're just sawing out of it uh you're not doing
that it's uh uh to really exaggerate it uh here I'm compressing holding back air as I'm
removing the note this is going to help you develop this Smoky raspy sound one
yes I am still singing combine the note with the compress air and practice going back and
forth and before you know it they meld if you'd like help with your art with your musical
expression through your voice click the link below and join my free voice course I'll help
you shake off that gotta be perfect gotta hit that certain note got to achieve help
you shake that off and pursue the more meaningful ways to express with your voice and as a result
you will become what you wanted to be [Music] um
this moving of the hand this getting the body involved you can tell that she's immersed
in this story in this presentation she's in character she is not focusing on hitting notes
she's focusing on the musical acting that she has become a part of
so you could never pull me down [Music]
box you hear that that rasp attachment all over this one
clear uh you hear I'm exaggerating it but lots of people don't separate that they either
think oh you just got a naturally raspy voice that might be true for some but don't let
naturally raspy voices keep you from developing your own wonderful natural raspy sound one
ah box them up scream
no you can never hurt no one hear that Dynamic shift
went from that rasp to the belt so good so subtle all these different ways that she's
moving her sound around is what makes her voice interesting
[Music]
and tell me is the fun gone well you you largely don't hear the rasp in the same way anymore
as she's brought it more forward and started to belt [Music] so tell me Well Gone Gone
just and tell me is the fun gone well Maybe [Music] this was me last year
[Music]
that sheen on her voice is so incredibly beautiful the breathiness that compression the notes
oh it's just such a beautiful sound
[Music] right there bye don't discount that fingers
[Music]
a little grit at the end of the murder ah falling into that compression that's cool
[Music]
[Music] okay before we enjoy this let's go back and listen to this that that ramp up
in energy absolutely incredible [Music]
[Music]
oh that slide these are the kinds of articulations that are awfully hard to do when your voice
is being digitally manipulated they're not impossible but the rawness the way she's going
from different tones her belt voice comes out here she slides up to that note and just
it's it's like you're like okay I'm just gonna I'm just gonna give you my fingers cut him
off you can you can have him she has us right where she wants us as a listener we can't
wait to see what she does next because what she's just done has hit us so hard
[Music] oh
and she takes this up an octave
what [Music] yeah
oh yeah so you can never pull me down can I hear that again gotta hear that again that's
different than the studio version [Music]
girl she's size out of those high notes that contrast between her belt and that very mouse-like
sweet sound up there the best most manipulative villains are able to be sweet and brutal at
the same time Christmas [Music]
see he's even getting a little bit of that growl in with her head voice that's hard to
do one ah God yeah laughing gosh I don't know if I'm selling it but even just experimenting
in the ways that I hear her doing in such a genuine way without judgment what comes
out with my own voice I'm unlocking all sorts of things that I don't even know I'm unlocking
yet
[Music] [Applause] [Music]
oh let's talk about that run but let's talk about her tone placement here what that pull
me down listen to this again
[Music]
pull me down pull me down oh there's some really neat things going on here a lot of
times as singers we ask ourselves like what's the best tone for this song what what's the
best sound I should have I'm just I'm just looking for my tone she has multiple tones
she has almost an infinite variety of tones and you hear it in the pull me down where
she's darkening lowering her larynx placing it back a little bit right after the oh that's
very forward
me down you hear if I sing the whole thing like that blow me down it doesn't work but
she's she's like blossoming as she's getting higher in belting who knows she goes down
she inserts a little rest reloads or larynx she places the notes and vowels differently
this is a lot to take in if you're if you're listening which is why I keep repeating things
and listening again but if we start to think like this think dynamically with our voice
instead of just about the notes so many things that she's doing it's gonna make a lot more
sense
so you could never pull me down
how she stops with those onsets percussion even in the midst of a run that's cool
[Music] scream [Music] scream so you could never hurt no more [Music] all those growls
I gotta go back [Music]
the energy that she has is inspiring enough to pull things out of my voice by itself how
she climbed there and had that just just brief grit growl thing going on it's not like she's
going into it going I gotta be distorted this energy is overtaking her and she understands
the technique and how to place things to get those sounds but in this moment it is happening
accidentally it is happening accidentally or maybe not accidentally maybe just as a
result of the energy that she's bringing in the muscle memory that she's trained for with
her voice is coming out here in a way that's purely expressive and not necessarily calculated
[Music]
rather than sighing out of that one she's been doing a lot of them where she she lets
out the air but on that last you she printed yeah before she let any air out that was neat
that was a neat different expression
[Music]
now you can tell they're not using pitch correction here those notes in that run were not perfect
they weren't perfectly on Pitch but they were awesome because of it the expression the tone
way before getting those notes exactly what a computer would say they need to be
watch how she moves her jaw along with that run how free she is how tension free she is
[Music]
part of that moving of her jaw you can hear it we'll listen again is she's modifying the
vowel of the E into a slight uh and it it makes the the articulation of the Run seem
greater than it actually is if we were just looking at how she's moving her pitch around
listen again
[Music] I'm exaggerating that but I bet you'll never listen to runs the same again listen
for those slight vowel Slants or modifications as they're doing the run to create more articulation
out of the Run
[Music]
she just changed her character or or got back in to it to the character that was there earlier
[Music]
not afraid to go on the fringes of of of you know these these creepy people that she's
representing here and she
said
[Music] what a presentation
[Music] so keep I'm close to you she's darkened again close to you from here
so keep them close to you
who cares and your knuckles like I have to [Music] do
absolutely amazing performance in the details and the overall and the production but man
what an incredible vocal performance I've really been enjoying getting into the music
of chinchilla and ren be sure to check out my other reactions to their stuff if you haven't
already and again if you'd like more help pulling things out of your own voice click
that link below and join my free course we'll see you for more