Chords for JONATHAN DAVIS - Through The Black Labyrinth // FINAL DAYS (Episode Five)

_ _ _ [C] _ _ Hate runs through me like a vein. _ _
It's coming for me as I watch them march down this false [Fm] line. _ _
I'm grabbing all the anger I [C] can find. _
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[Fm] Alarming and depressing [Db] face.
Destroying all the places in my [C] mind. _ _ _ _
_ _ _ _ [Ab] We're living in our final [Fm] days.
[Db] We're farming all the places left [C] to hide.
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_ _ _ _ _ [C] It's coming for me as I watch them march down this false line.
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_ _ _ _ _ It's coming for me _ _ _ _ _ _ _ _ _ _ _ _ _ _
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_ _ as _ _ _ I watch them march down this false line. _ _ _ _
_ _ _ _ _ _ I think I'm going to be into double violin.
He's done amazing things with his violin.
[D] The whole thing is from a contrabass all the way up to a violin.
[Fm] It goes all the ranges.
And he's just a very gifted individual.
He's done [C] _ tons and produced tons of 80s [C] classic hits.
[B] He's been involved with a lot of great people. Keith Harris.
_ [Eb] _ [Gb] I'm sick of being genius while y'all [Dbm] stumbling on the fucking parts.
Shake like. _
_ You [Db] get mad.
_ _ [F] Loop it.
Because it was perfect pitch.
I'm going to go do this at the gig real quick.
[C] To be able to take lessons from him was amazing.
And I pick up instruments pretty quickly.
I started the tour, first couple shows, [G] and he gave me some lessons.
By like the fifth or sixth show, I was playing with [C] him.
And we got to do these jams.
I don't know what I'm doing.
I just play by ear.
But some of my favorites were me and him going back and forth,
playing and him doing his thing.
And we'd just do these long 10-minute jams on stage.
And people seemed not to get bored.
They just ate it up.
It would be me, him, and Miles going at it, or me [Gb] and him and Zach.
[C] It just depended on the night.
You're not there.
You're not there.
You're not there.
You're not there.
You're not there.
You're not there.
[B] Vocal stylings.
[C] I do the, we call them boonchakas.
This is from the Freak on the Leash stuff.
But his stuff was like all these dooms, he was like doing,
doom, a-taka-taka, doom.
It's just these different voicings. _
It's like percussive.
And so he'd be like going, doom, a-taka-taka, doom, a-taka-taka, doom.
So he'd tell me to do that, and then he would do these other ones over the top,
just doing this vocal percussion.
He just hit me to that, and so [Gb] we'd start doing it on stage.
I'm like, let's just do it.
I became where I didn't care.
I wanted to experiment.
I loved the [E] rush of not knowing what we were going to do
or how it would [Eb] turn out.
I became kind of [Gb] addicted to that, not [B] knowing in front of an audience.
[Em] It's just throwing it all out there and not giving a fuck.
Hey, we could train [Bm] wreck, or it could be really cool,
and it ended up [C] being really cool. _ _
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We used a tabla player, [N] Mike Dillon.
Zach hooked me up with him.
And the original, when I wrote it, it had just loops.
But I really wanted it to be real.
[C] Everything on this I wanted it to be real, and when you hear it recorded
and hear it on there, you know someone's playing them.
It's not something programmed.
It's not a machine.
I really wanted to get that across and have a real guy play,
and Mike did a great job.
The whole thing, it just takes you somewhere, and that's what I was [Ab] going for.
It's just that cool vibe makes you relax and lose yourself.
The longing in this present [Db] face
Destroying all the places in my [C] mind _ _ _ _
_ _ _ _ [Ab] We're living in our [Fm] final days
[Db] Bombing all the places left