Chords for We Are Scientists interview - Chris Cain (part 1)
Tempo:
123.3 bpm
Chords used:
D
F#
D#
C#
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
But I also read that you made a decision to make the music more the way it is now,
and beforehand you were more aggressive, more loud.
Was it true?
It was more what you would call power pop before, I would say.
I think that, well, there was never a moment where we consciously said,
we need to move into this genre or something.
But absolutely, listening to the stuff that we listened to in New York
changed the sound of our music substantially.
Which was?
Like, what were we listening to?
You know, just New York bands, bands like [D] Les Savy Fav, Liars,
[F#]
[N] Yeah, yeah, yeah, Strokes, of course, TV on the Radio, Oxford Collapse.
TV on the Radio.
I mean, the fact is, New York is just full of really great bands.
I mean, there are a lot of real crackheads too.
Sorry.
No, okay, sorry.
But do you speak to them?
Is there some kind of, because people say there is a scene,
but is there a scene where people are interacting and talking to each other?
Yeah, I think there is a scene.
We're not really part of the scene.
But, because I think when we moved out there, those bands were,
that's around the time those bands started to get established.
I think, Is This It?
Strokes' first album came out maybe six months after we moved to New York.
So that's when the New York scene started to kind of, I mean, as we're big [B] that next year.
So, we, [D#] you know, at that time, like I said, we weren't much of a band.
We [D] did play shows, [C] but not a million nights.
[F#] So, we don't [A#] know any of those people.
[F#] We do have a [D] couple of bands in New York that have grown up more on our timeline.
Like that have just [C#] started to mature in the last year or two.
[D] And those are bands that I think are starting to get big [F#m] now.
[Em] Hopefully a year from now [D#] you'll be impressed when I tell you I know [F#] some.
Name me a few.
[D]
I would say
Then we'll have it.
[F#] Yeah, we'll have the evidence.
Shy Child,
[D#] Oxford Collapse [C#] and Bishop Allen.
My three [F#] bets for 2006.
[C#] Those are bands that I think are sort of at a similar point to where we are now.
Maybe six months behind and they're going to get bigger next year.
And [N] the, what you were saying, the sound evolved?
Yeah, well, you know, I think the thing is you go to
If you go to a Les Savy Fab show and you're sort of blown away,
you have to be [D] really arrogant to go home [G] and say,
I'm going to [F] keep my music the way it is because the fact is they're better than [E] you.
So I think, you know, you naturally
I don't think it's as conscious as,
we're going to start trying to play like Les Savy Fab.
[D#] But it sinks in, you know.
You watch all these bands that are better than you
and you [D] basically [D#] start to try to be more like them.
But how?
Did you talk about it with three of you?
Or how does it go?
Or is it something more subconscious?
No, I think it's more subconscious.
When I identify this pattern, it's only in retrospect.
It's only looking back and saying,
acknowledging that that music has clearly had an effect on our
I think [C] most specifically the drum stuff,
the rhythms, the sort of, I don't know,
[D] robotic time signatures where Michael will [A#] sometimes
[D] be playing [C#m] in three [C#] or something, even though the song's in four.
So the pattern [G#] kind of switches where it is on the beat.
I think that to me sounds very New York-y.
[N] And then Keats' guitar tones sound very New York-y to me.
His delay, you know.
and beforehand you were more aggressive, more loud.
Was it true?
It was more what you would call power pop before, I would say.
I think that, well, there was never a moment where we consciously said,
we need to move into this genre or something.
But absolutely, listening to the stuff that we listened to in New York
changed the sound of our music substantially.
Which was?
Like, what were we listening to?
You know, just New York bands, bands like [D] Les Savy Fav, Liars,
[F#]
[N] Yeah, yeah, yeah, Strokes, of course, TV on the Radio, Oxford Collapse.
TV on the Radio.
I mean, the fact is, New York is just full of really great bands.
I mean, there are a lot of real crackheads too.
Sorry.
No, okay, sorry.
But do you speak to them?
Is there some kind of, because people say there is a scene,
but is there a scene where people are interacting and talking to each other?
Yeah, I think there is a scene.
We're not really part of the scene.
But, because I think when we moved out there, those bands were,
that's around the time those bands started to get established.
I think, Is This It?
Strokes' first album came out maybe six months after we moved to New York.
So that's when the New York scene started to kind of, I mean, as we're big [B] that next year.
So, we, [D#] you know, at that time, like I said, we weren't much of a band.
We [D] did play shows, [C] but not a million nights.
[F#] So, we don't [A#] know any of those people.
[F#] We do have a [D] couple of bands in New York that have grown up more on our timeline.
Like that have just [C#] started to mature in the last year or two.
[D] And those are bands that I think are starting to get big [F#m] now.
[Em] Hopefully a year from now [D#] you'll be impressed when I tell you I know [F#] some.
Name me a few.
[D]
I would say
Then we'll have it.
[F#] Yeah, we'll have the evidence.
Shy Child,
[D#] Oxford Collapse [C#] and Bishop Allen.
My three [F#] bets for 2006.
[C#] Those are bands that I think are sort of at a similar point to where we are now.
Maybe six months behind and they're going to get bigger next year.
And [N] the, what you were saying, the sound evolved?
Yeah, well, you know, I think the thing is you go to
If you go to a Les Savy Fab show and you're sort of blown away,
you have to be [D] really arrogant to go home [G] and say,
I'm going to [F] keep my music the way it is because the fact is they're better than [E] you.
So I think, you know, you naturally
I don't think it's as conscious as,
we're going to start trying to play like Les Savy Fab.
[D#] But it sinks in, you know.
You watch all these bands that are better than you
and you [D] basically [D#] start to try to be more like them.
But how?
Did you talk about it with three of you?
Or how does it go?
Or is it something more subconscious?
No, I think it's more subconscious.
When I identify this pattern, it's only in retrospect.
It's only looking back and saying,
acknowledging that that music has clearly had an effect on our
I think [C] most specifically the drum stuff,
the rhythms, the sort of, I don't know,
[D] robotic time signatures where Michael will [A#] sometimes
[D] be playing [C#m] in three [C#] or something, even though the song's in four.
So the pattern [G#] kind of switches where it is on the beat.
I think that to me sounds very New York-y.
[N] And then Keats' guitar tones sound very New York-y to me.
His delay, you know.
Key:
D
F#
D#
C#
C
D
F#
D#
_ _ _ But I also read that you made a decision to make the music more the way it is now,
and beforehand you were more _ aggressive, more loud.
Was it true?
_ _ It was more what you would call power pop before, I would say.
_ I think that, well, there was never a moment where we consciously said,
we need to move into this genre or something.
_ _ But absolutely, _ listening to the stuff that we listened to in New York
_ changed the sound of our music substantially.
Which was?
_ _ Like, what were we listening to? _
_ You know, just New York bands, bands like [D] Les Savy Fav, _ Liars,
_ _ [F#] _
_ [N] _ _ Yeah, yeah, yeah, Strokes, of course, _ TV on the Radio, _ _ Oxford Collapse.
TV on the Radio.
_ I mean, the fact is, New York is just full of really great bands.
I mean, there are a lot of real crackheads too.
Sorry.
No, okay, sorry.
But do you speak to them?
_ Is there some kind of, because people say there is a scene,
but is there a scene where people are interacting and talking to each other?
Yeah, I think there is a scene.
We're not really part of the scene.
_ But, because I think when we moved out there, those bands were,
that's around the time those bands started to get established.
I think, Is This It?
Strokes' first album came out maybe six months after we moved to New York.
So that's when the New York scene started to kind of, I mean, as we're _ _ big [B] that next year.
_ So, _ _ we, [D#] you know, at that time, like I said, we weren't much of a band.
We [D] did play shows, [C] but not a million nights. _ _
_ [F#] So, _ we don't [A#] know any of those people.
[F#] We do have a [D] couple of bands in New York that have grown up more _ on our timeline.
Like that have just [C#] started to _ _ mature in the last year or two.
[D] _ _ And those are bands that I think are starting to get big [F#m] now. _ _ _
_ [Em] Hopefully a year from now [D#] you'll be impressed when I tell you I know [F#] some.
_ Name me a few.
[D] _
_ I would say_
Then we'll have it.
[F#] Yeah, we'll have the evidence.
Shy Child, _
[D#] Oxford Collapse _ [C#] and Bishop Allen.
_ My three [F#] bets for _ 2006.
[C#] Those are bands that I think are sort of at a similar point to where we are now.
Maybe six months behind and they're going to get bigger next year.
And [N] the, what you were saying, the sound _ evolved?
_ Yeah, well, you know, I think the thing is you go to_
If you go to a Les Savy Fab show _ _ _ and you're sort of blown away,
_ _ _ _ _ you have to be [D] really arrogant to go home [G] and say, _ _
I'm going to [F] keep my music the way it is because the fact is they're better than [E] you.
So I think, you know, you naturally_
I don't think it's as conscious as,
we're going to start trying to play like Les Savy Fab.
[D#] But it sinks in, you know.
You watch all these bands that are better than you
and you [D] basically [D#] start to try to be more like them.
But how?
Did you talk about it with three of you?
Or how does it go?
Or is it something more subconscious?
No, I think it's more subconscious.
When _ I identify this pattern, it's only in retrospect.
It's only looking back and saying,
_ _ acknowledging that that music has clearly had an effect on _ _ _ our_
I think _ [C] most specifically _ _ the drum _ _ stuff,
the rhythms, _ _ _ the sort of, _ I don't know,
[D] robotic time signatures where Michael will [A#] sometimes _ _
[D] be playing [C#m] in three [C#] or something, even though the song's in four.
So the pattern [G#] kind of switches where it is on the beat.
_ _ I think that to me sounds very New York-y.
[N] And then _ Keats' guitar tones sound very New York-y to me.
His _ delay, you know. _ _ _ _ _ _
_ _ _ _ _ _ _ _
and beforehand you were more _ aggressive, more loud.
Was it true?
_ _ It was more what you would call power pop before, I would say.
_ I think that, well, there was never a moment where we consciously said,
we need to move into this genre or something.
_ _ But absolutely, _ listening to the stuff that we listened to in New York
_ changed the sound of our music substantially.
Which was?
_ _ Like, what were we listening to? _
_ You know, just New York bands, bands like [D] Les Savy Fav, _ Liars,
_ _ [F#] _
_ [N] _ _ Yeah, yeah, yeah, Strokes, of course, _ TV on the Radio, _ _ Oxford Collapse.
TV on the Radio.
_ I mean, the fact is, New York is just full of really great bands.
I mean, there are a lot of real crackheads too.
Sorry.
No, okay, sorry.
But do you speak to them?
_ Is there some kind of, because people say there is a scene,
but is there a scene where people are interacting and talking to each other?
Yeah, I think there is a scene.
We're not really part of the scene.
_ But, because I think when we moved out there, those bands were,
that's around the time those bands started to get established.
I think, Is This It?
Strokes' first album came out maybe six months after we moved to New York.
So that's when the New York scene started to kind of, I mean, as we're _ _ big [B] that next year.
_ So, _ _ we, [D#] you know, at that time, like I said, we weren't much of a band.
We [D] did play shows, [C] but not a million nights. _ _
_ [F#] So, _ we don't [A#] know any of those people.
[F#] We do have a [D] couple of bands in New York that have grown up more _ on our timeline.
Like that have just [C#] started to _ _ mature in the last year or two.
[D] _ _ And those are bands that I think are starting to get big [F#m] now. _ _ _
_ [Em] Hopefully a year from now [D#] you'll be impressed when I tell you I know [F#] some.
_ Name me a few.
[D] _
_ I would say_
Then we'll have it.
[F#] Yeah, we'll have the evidence.
Shy Child, _
[D#] Oxford Collapse _ [C#] and Bishop Allen.
_ My three [F#] bets for _ 2006.
[C#] Those are bands that I think are sort of at a similar point to where we are now.
Maybe six months behind and they're going to get bigger next year.
And [N] the, what you were saying, the sound _ evolved?
_ Yeah, well, you know, I think the thing is you go to_
If you go to a Les Savy Fab show _ _ _ and you're sort of blown away,
_ _ _ _ _ you have to be [D] really arrogant to go home [G] and say, _ _
I'm going to [F] keep my music the way it is because the fact is they're better than [E] you.
So I think, you know, you naturally_
I don't think it's as conscious as,
we're going to start trying to play like Les Savy Fab.
[D#] But it sinks in, you know.
You watch all these bands that are better than you
and you [D] basically [D#] start to try to be more like them.
But how?
Did you talk about it with three of you?
Or how does it go?
Or is it something more subconscious?
No, I think it's more subconscious.
When _ I identify this pattern, it's only in retrospect.
It's only looking back and saying,
_ _ acknowledging that that music has clearly had an effect on _ _ _ our_
I think _ [C] most specifically _ _ the drum _ _ stuff,
the rhythms, _ _ _ the sort of, _ I don't know,
[D] robotic time signatures where Michael will [A#] sometimes _ _
[D] be playing [C#m] in three [C#] or something, even though the song's in four.
So the pattern [G#] kind of switches where it is on the beat.
_ _ I think that to me sounds very New York-y.
[N] And then _ Keats' guitar tones sound very New York-y to me.
His _ delay, you know. _ _ _ _ _ _
_ _ _ _ _ _ _ _