Chords for Inside ODESZA’s creative process | Native Instruments

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It's really important to try new things and because of that I think it's [F] really important to fail.
If you don't try [C] things differently it stays [D#] stale and you may never get to where you really
want to be. _ _
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I think [Cm] the Northwest definitely has a particular vibe.
[F]
I really can't see myself making music anywhere [D#] else.
It allows you to kind of just [C] be inside and that breeds [Cm] kind of this internal energy and
like you [G#] can really just self discover [D#] inside of you that I think might get lost.
I think that's [D#] why I like just putting on my headphones and [Cm] going on a walk or being
in a car ride and just listening to music.
When you take it with you [G#] on a journey or something I [D#] don't focus on every little detail as much.
I really focus on just the general feeling I get from the song [Cm] instead.
Maybe you don't even [Fm] notice it but you start making these connections [C#] to it. _
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[Fm] _ _ _ _ _ _
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_ What makes a [Fm] sound, the end product of a track is defined I think in a [D#] lot of ways by the
process in which [A] you made that track.
So [D] we've been using machines since it first came out.
_ [A] _ _ _ _
_ [B] _ [D] The functionality of it and the look and feel just allows [A] the producer to just add ideas,
take away ideas, manipulate [D] sound and take apart a song, replace pieces, re-record pieces,
really get into the depth of a track.
[B] I mean it takes you back to [D] analog gear and you can just sit there and fiddle with stuff
until you find something unique.
[A] Instead of trying to search for something, if you can't figure out something within seconds
it doesn't become part [B] of you playing it and that's [D] so important.
You can start just taking the tail end of a reverb of a chord you played and that becomes
the new chord [B] and then you manipulate that into a [D] whole new song and it becomes something
that is harder to replicate and that's what makes your sound unique.
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_ [D] _ We usually will print the [A] synth sound into the track itself and build it so [B] basically
it kind of makes it easier to make mistakes and we found that mistakes really [A] lead to
the most interesting ideas.
_ [B] _ I'll hit [D] the wrong button and turn on a plug-in and go, oh I like [A] that and I'll go, yeah me
too and then we [F#m] start, the whole song becomes a different song.
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_ [B] _ This newest [F#] album is a lot more about I think [C#] growth and progression and maturity.
I don't think we're trying to reinvent the wheel, [B] it's really just us [F#] pursuing our sound
to the fullest.
[C#] We've kind of rediscovered that sound in some sense and [B] reconnected to it.
It has [A#m] flavors of what was but [C#] is also something new and progressive.
It's a very fine [B] balance of knowing [F#] enough but also [C#] not being afraid to make mistakes
and explore new areas, make some weird impressions and [B] make some weird noises.
I think it's really [E] respectable and I respect that a lot of artists and that's something
[C#m] we try to do.
_ I think that's what's so important about being in a duo is when someone's [E] starting to feel
like anxiety towards something, I don't want to try that, I don't think it's going to work.
Someone else is there to be like, I think it might and I think we should try it.
_ Learning growth from those [C#m] mistakes as much as possible so you don't [E] want it to be perfect.
It can be kind of raw and it needs to be [E] you. _
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