Chords for The One-Man Industrial Doom Metal Band
Tempo:
111.55 bpm
Chords used:
Ab
G
Cm
D
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Am] [Ab]
[Eb] [D]
[N] I think it's a confusion sometimes when people look at my artwork is that it's very high-tech, but really it's extremely low-tech.
It's very [G] basic.
It's very primal.
It's physical.
[E] The reason I can make like music that [B] drags in a way that doesn't sound [Dbm] like it's being played off the [Cm] computers
because I'm doing it in [Bb] all manuals.
[Ebm] [F] [N]
Oh, I'm gonna go hide.
Oh, that's not too bad.
I think I decided to make my own instruments initially because I was having trouble making heavier music
with electronic instruments that were available.
I'm also a mechanical engineer in microfluidics and microscopy.
I did some bands while I was in engineering school, metal bands, playing bass and guitar
and just equally as passionate about the music as I was about engineering.
I kind of got frustrated by the band member thing.
So at some point I was like, I'm gonna program drum machine music and play my guitar along with it.
But playing along with the sequence with the guitar, it kind of gets away from you.
It sounds great in the studio, but it needed to be more live.
I was like, oh, okay, I'm gonna make something that I slide.
It just took off from there.
This was the first ones that I made.
So these are basically just controllers for synthesizers.
USB output to your computer or to any synth that you want.
The idea with this was that the faster you go, the higher the [D] pitch.
[A]
So this is a new setup, [N] tentatively calling it like the gridiron.
The stylus right here that basically follows the grooves.
You can create the beats like that.
[F]
This one's called Rails.
This is the one I played the most, toured the most with.
There's eight buttons here, so you can basically do different combinations of buttons
at different positions to trigger different sounds.
They don't make their own sound.
It's an interface.
I'm basically taking a really nice physical thing, a small machine that I've built,
and then you basically just attach encoders or potentiometers to them
so that you can send that to a little computer and read out all that information.
This one is basically, [Fm] I wanted to have a big chunk of steel that spun and [G] slid.
Something you just could really
[Em] This one was difficult because you've got to measure the spinning with an encoder and the sliding.
The thing [Ab] about it having weight, the device having weight, you can hear [G] the weight.
[E] It's using the [Gb] quality of the [Bb] materials to act as your instrument.
[E] [B]
[Bb] [C]
This is [Ab] the National Center for Microscopy and Imaging [Eb] Research.
I work with physicists and biologists [N] to come up with new ways to image cell [Cm] biology.
This device allows you to take a block, a one millimeter of one millimeter cube of a mouse brain
or whatever sample, and you slice it and then image each slice.
I don't know what this sample is.
It's [C] probably some brains.
These devices are [A] basically small robots, and we need to modify them and make them work better.
So that's my job as a mechanical engineer.
I work with 3D modeling software and then modify them, get a machine to the shop, bring them [D] back in.
[N] So when I'm building a lot of the instruments that I'm designing, I use the same software.
In some ways, the partnership between the two things keeps me fresh.
I mean, a lot of what I do is based on hardware [C] and automation equipment and gears and bearings and things that slide.
So there's something about being in that environment with this really
I mean, these microscopes are $10 million.
No one's spending that kind of money on making a musical instrument.
I'm trying to apply those same design strategies.
When I [Cm] was first building them, I had a sound in mind, and I really wanted to find a way to [Ab]
appropriately play that sound.
But now, I think it's more what my [Cm] body is able to do live as one person.
[Ab] Right now, I'm working on an album for Relapse that comes out sometime in the fall.
And this one is special for me because I've built new instruments for the first time since [D] 2010.
[Cm] These new instruments, it's a totally new idea.
I may have a partner or two to develop these into something like a boutique controller company [Ab] or instrument company.
Because I don't see that many tactile, physical, industrial controllers.
And I feel like it's a shame because there's so many gnarly [Abm] musicians out there, and those guys should have gnarly stuff.
[Gb] [G] [B]
[Ab] [Gb]
[G] [N]
[Eb] [D]
[N] I think it's a confusion sometimes when people look at my artwork is that it's very high-tech, but really it's extremely low-tech.
It's very [G] basic.
It's very primal.
It's physical.
[E] The reason I can make like music that [B] drags in a way that doesn't sound [Dbm] like it's being played off the [Cm] computers
because I'm doing it in [Bb] all manuals.
[Ebm] [F] [N]
Oh, I'm gonna go hide.
Oh, that's not too bad.
I think I decided to make my own instruments initially because I was having trouble making heavier music
with electronic instruments that were available.
I'm also a mechanical engineer in microfluidics and microscopy.
I did some bands while I was in engineering school, metal bands, playing bass and guitar
and just equally as passionate about the music as I was about engineering.
I kind of got frustrated by the band member thing.
So at some point I was like, I'm gonna program drum machine music and play my guitar along with it.
But playing along with the sequence with the guitar, it kind of gets away from you.
It sounds great in the studio, but it needed to be more live.
I was like, oh, okay, I'm gonna make something that I slide.
It just took off from there.
This was the first ones that I made.
So these are basically just controllers for synthesizers.
USB output to your computer or to any synth that you want.
The idea with this was that the faster you go, the higher the [D] pitch.
[A]
So this is a new setup, [N] tentatively calling it like the gridiron.
The stylus right here that basically follows the grooves.
You can create the beats like that.
[F]
This one's called Rails.
This is the one I played the most, toured the most with.
There's eight buttons here, so you can basically do different combinations of buttons
at different positions to trigger different sounds.
They don't make their own sound.
It's an interface.
I'm basically taking a really nice physical thing, a small machine that I've built,
and then you basically just attach encoders or potentiometers to them
so that you can send that to a little computer and read out all that information.
This one is basically, [Fm] I wanted to have a big chunk of steel that spun and [G] slid.
Something you just could really
[Em] This one was difficult because you've got to measure the spinning with an encoder and the sliding.
The thing [Ab] about it having weight, the device having weight, you can hear [G] the weight.
[E] It's using the [Gb] quality of the [Bb] materials to act as your instrument.
[E] [B]
[Bb] [C]
This is [Ab] the National Center for Microscopy and Imaging [Eb] Research.
I work with physicists and biologists [N] to come up with new ways to image cell [Cm] biology.
This device allows you to take a block, a one millimeter of one millimeter cube of a mouse brain
or whatever sample, and you slice it and then image each slice.
I don't know what this sample is.
It's [C] probably some brains.
These devices are [A] basically small robots, and we need to modify them and make them work better.
So that's my job as a mechanical engineer.
I work with 3D modeling software and then modify them, get a machine to the shop, bring them [D] back in.
[N] So when I'm building a lot of the instruments that I'm designing, I use the same software.
In some ways, the partnership between the two things keeps me fresh.
I mean, a lot of what I do is based on hardware [C] and automation equipment and gears and bearings and things that slide.
So there's something about being in that environment with this really
I mean, these microscopes are $10 million.
No one's spending that kind of money on making a musical instrument.
I'm trying to apply those same design strategies.
When I [Cm] was first building them, I had a sound in mind, and I really wanted to find a way to [Ab]
appropriately play that sound.
But now, I think it's more what my [Cm] body is able to do live as one person.
[Ab] Right now, I'm working on an album for Relapse that comes out sometime in the fall.
And this one is special for me because I've built new instruments for the first time since [D] 2010.
[Cm] These new instruments, it's a totally new idea.
I may have a partner or two to develop these into something like a boutique controller company [Ab] or instrument company.
Because I don't see that many tactile, physical, industrial controllers.
And I feel like it's a shame because there's so many gnarly [Abm] musicians out there, and those guys should have gnarly stuff.
[Gb] [G] [B]
[Ab] [Gb]
[G] [N]
Key:
Ab
G
Cm
D
E
Ab
G
Cm
_ _ [Am] _ _ _ _ _ [Ab] _
_ [Eb] _ _ _ _ _ _ [D] _
_ [N] _ I think it's a confusion sometimes when people look at my artwork is that it's very high-tech, but really it's extremely low-tech.
It's very [G] basic.
It's very primal.
It's physical.
[E] The reason I can make like music that [B] drags in a way that doesn't sound [Dbm] like it's being played off the [Cm] computers
because I'm doing it in [Bb] all manuals.
_ [Ebm] _ _ [F] _ [N] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ Oh, I'm gonna go hide. _ _
Oh, that's not too bad.
_ I think I decided to make my own instruments initially because I was having trouble making heavier music
with electronic instruments that were available.
I'm also a mechanical engineer in microfluidics and microscopy.
I did some bands while I was in engineering school, metal bands, playing bass and guitar
and just equally as passionate about the music as I was about engineering.
_ I kind of got frustrated by the band member thing.
So at some point I was like, I'm gonna program drum machine music and play my guitar along with it.
But playing along with the sequence with the guitar, it kind of gets away from you.
It sounds great in the studio, but it needed to be more live.
I was like, oh, okay, I'm gonna make something that I slide.
It just took off from there.
This was the first ones that I made.
So these are basically just controllers for synthesizers.
USB output to your computer or to any synth that you want.
The idea with this was that the faster you go, the higher the [D] pitch.
_ [A] _ _ _ _ _
_ _ _ So this is a new setup, [N] tentatively calling it like the gridiron.
The stylus right here that basically follows the grooves.
You can create the beats like that.
_ _ _ [F] _
This one's called Rails.
This is the one I played the most, toured the most with.
There's eight buttons here, so you can basically do different combinations of buttons
at different positions to trigger different sounds. _
_ _ _ _ They don't make their own sound.
It's an interface.
I'm basically taking a really nice physical thing, a small machine that I've built,
and then you basically just attach encoders or potentiometers to them
so that you can send that to a little computer and read out all that information.
This one is basically, [Fm] I wanted to have a big chunk of steel that spun and [G] slid.
Something you just could really_
_ _ [Em] This one was difficult because you've got to measure the spinning with an encoder and the sliding. _ _ _ _
_ The thing [Ab] about it having weight, the device having weight, you can hear [G] the weight.
_ _ _ [E] It's using the [Gb] quality of the [Bb] materials to act as your instrument.
_ [E] _ _ [B] _
_ [Bb] _ _ _ _ _ _ [C] _
This is [Ab] the National Center for Microscopy and Imaging [Eb] Research.
I work with physicists and biologists [N] to come up with new ways to image cell [Cm] biology.
This device allows you to take a block, a one millimeter of one millimeter cube of a mouse brain
or whatever sample, and you slice it and then image each slice.
I don't know what this sample is.
It's [C] probably some brains.
These devices are [A] basically small robots, and we need to modify them and make them work better.
So that's my job as a mechanical engineer.
I work with 3D modeling software and then modify them, get a machine to the shop, bring them [D] back in.
[N] So when I'm building a lot of the instruments that I'm designing, I use the same software.
_ In some ways, the partnership between the two things keeps me fresh.
I mean, a lot of what I do is based on hardware [C] and automation equipment and gears and bearings and things that slide.
So there's something about being in that environment with this really_
I mean, these microscopes are $10 million.
No one's spending that kind of money on making a musical instrument.
I'm trying to apply those same design strategies. _ _
_ _ _ When I [Cm] was first building them, I had a sound in mind, and I really wanted to find a way to [Ab]
appropriately play that sound.
But now, I think it's more what my [Cm] body is able to do live as one person.
[Ab] Right now, I'm working on an album for Relapse that comes out sometime in the fall.
And this one is special for me because I've built new instruments for the first time since [D] 2010.
_ _ _ _ _ _ [Cm] These new instruments, it's a totally new idea.
I may have a partner or two to develop these into something like a boutique controller company [Ab] or instrument company.
Because I don't see that many tactile, physical, industrial controllers.
And I feel like it's a shame because there's so many gnarly [Abm] musicians out there, and those guys should have gnarly stuff.
_ _ [Gb] _ _ _ [G] _ [B] _ _ _ _ _
_ [Ab] _ _ [Gb] _ _ _ _ _
_ [G] _ _ _ _ _ _ [N] _
_ _ _ _ _ _ _ _
_ [Eb] _ _ _ _ _ _ [D] _
_ [N] _ I think it's a confusion sometimes when people look at my artwork is that it's very high-tech, but really it's extremely low-tech.
It's very [G] basic.
It's very primal.
It's physical.
[E] The reason I can make like music that [B] drags in a way that doesn't sound [Dbm] like it's being played off the [Cm] computers
because I'm doing it in [Bb] all manuals.
_ [Ebm] _ _ [F] _ [N] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ Oh, I'm gonna go hide. _ _
Oh, that's not too bad.
_ I think I decided to make my own instruments initially because I was having trouble making heavier music
with electronic instruments that were available.
I'm also a mechanical engineer in microfluidics and microscopy.
I did some bands while I was in engineering school, metal bands, playing bass and guitar
and just equally as passionate about the music as I was about engineering.
_ I kind of got frustrated by the band member thing.
So at some point I was like, I'm gonna program drum machine music and play my guitar along with it.
But playing along with the sequence with the guitar, it kind of gets away from you.
It sounds great in the studio, but it needed to be more live.
I was like, oh, okay, I'm gonna make something that I slide.
It just took off from there.
This was the first ones that I made.
So these are basically just controllers for synthesizers.
USB output to your computer or to any synth that you want.
The idea with this was that the faster you go, the higher the [D] pitch.
_ [A] _ _ _ _ _
_ _ _ So this is a new setup, [N] tentatively calling it like the gridiron.
The stylus right here that basically follows the grooves.
You can create the beats like that.
_ _ _ [F] _
This one's called Rails.
This is the one I played the most, toured the most with.
There's eight buttons here, so you can basically do different combinations of buttons
at different positions to trigger different sounds. _
_ _ _ _ They don't make their own sound.
It's an interface.
I'm basically taking a really nice physical thing, a small machine that I've built,
and then you basically just attach encoders or potentiometers to them
so that you can send that to a little computer and read out all that information.
This one is basically, [Fm] I wanted to have a big chunk of steel that spun and [G] slid.
Something you just could really_
_ _ [Em] This one was difficult because you've got to measure the spinning with an encoder and the sliding. _ _ _ _
_ The thing [Ab] about it having weight, the device having weight, you can hear [G] the weight.
_ _ _ [E] It's using the [Gb] quality of the [Bb] materials to act as your instrument.
_ [E] _ _ [B] _
_ [Bb] _ _ _ _ _ _ [C] _
This is [Ab] the National Center for Microscopy and Imaging [Eb] Research.
I work with physicists and biologists [N] to come up with new ways to image cell [Cm] biology.
This device allows you to take a block, a one millimeter of one millimeter cube of a mouse brain
or whatever sample, and you slice it and then image each slice.
I don't know what this sample is.
It's [C] probably some brains.
These devices are [A] basically small robots, and we need to modify them and make them work better.
So that's my job as a mechanical engineer.
I work with 3D modeling software and then modify them, get a machine to the shop, bring them [D] back in.
[N] So when I'm building a lot of the instruments that I'm designing, I use the same software.
_ In some ways, the partnership between the two things keeps me fresh.
I mean, a lot of what I do is based on hardware [C] and automation equipment and gears and bearings and things that slide.
So there's something about being in that environment with this really_
I mean, these microscopes are $10 million.
No one's spending that kind of money on making a musical instrument.
I'm trying to apply those same design strategies. _ _
_ _ _ When I [Cm] was first building them, I had a sound in mind, and I really wanted to find a way to [Ab]
appropriately play that sound.
But now, I think it's more what my [Cm] body is able to do live as one person.
[Ab] Right now, I'm working on an album for Relapse that comes out sometime in the fall.
And this one is special for me because I've built new instruments for the first time since [D] 2010.
_ _ _ _ _ _ [Cm] These new instruments, it's a totally new idea.
I may have a partner or two to develop these into something like a boutique controller company [Ab] or instrument company.
Because I don't see that many tactile, physical, industrial controllers.
And I feel like it's a shame because there's so many gnarly [Abm] musicians out there, and those guys should have gnarly stuff.
_ _ [Gb] _ _ _ [G] _ [B] _ _ _ _ _
_ [Ab] _ _ [Gb] _ _ _ _ _
_ [G] _ _ _ _ _ _ [N] _
_ _ _ _ _ _ _ _