X Factory: Sommerset: Inside

Welcome to the first NZM of 2004. I am starting the year with a song called Inside from Auckland band Sommerset.

Sommerset have gone through a sea of change in their sound over the last six years, and remain stylistically elusive; although one thing is clear - it is definitely Rock with a capital R.

Some Rock is more about delivery (attitude) than about content isn’t it? Some Rock is more about accuracy and heaviness than about content, right? And some Rock gets the whole mix just right - accuracy, delivery, and content. The powerful Rock act that plays super tight always makes an impression, but in order to make a lasting impression the gesture must not only be rhythmically tight but also musically potent.

In order for it to get under your skin it must have some emotional current running through the music, lyrics and performance style. Sommerset have this. They are heavy, tight, (take note - these guys rehearse), and offer a song with a strong impetus of verse-chorus progression with a clearly defined vocal melody- that means they have captured some sort of pop sensibility (don’t be confused - they haven’t gone all soft!), and means this song is easily remembered.

Inside is about a yearning for freedom or escape, a common thread in many songs naturally, but the vocal delivery really conveys a sense of desperation in the lyrics ("I get so sick of being inside"). Weighing in at a shade over three minutes it wastes no time in getting the message across. It presents the following structure and chords (simplified):

Intro (Chorus)      Bm      /      D      /

Verse (1, 2)          Bm      /      G      G     A      Bm      /      F#m      G      A

Chorus

Verse (3, 4)

Chorus (double)

Bridge                  G      A      Bm      A      G      A      Bm      /      /      (C)

Intro

Chorus (double plus tag end)

Riff-based Rock music has a few tried and true devices that win me over every time - and here’s one of them: the chorus riff is the basis of the introduction. The similarities with Kiss’ Detroit Rock City (Destroyer, 1976) are obvious, but hey, Rock is all about lineage and who better to doff your cap to! The chords are mostly power chords (root and fifth with no third), and together reflect the Aeolian mode, or natural minor scale. The frequently recurring combination of the f# in the vocal melody with the G power chord creates a G major 7 chord which is unusual in this type of 'eaviness, your Honour, and makes for a useful change of colour.

It is great to get the chance to look at a bridge-type section for a change. Here the chords offered have already been used, but the emphasis is firmly put on the G maj 7, and the feeling is that it could be the new home key for a while, rather than simply using it as a foil for the Bm. Importantly, the backing vocals change here and Sommerset let loose the punk band that lurks beneath the surface. The lead vocal is shadowed by a part harmonizing in thirds, with the interjection of a cracking "Woah."

The comparative complexity in the vocal arrangement contrasts with the simpler sparseness of the chorus. There’s a glimpse of a darker energy at the end of this bridge. The band comes backs to riffing on the B power chord and just prior to the reiteration of the intro riff they slip in a C against the B, suggests a 'flat 2’ mode such as the Phrygian or Locrian. A nice touch before rocking out on the intro again. If you come up with a simple idea for some variation, I dare you to play it only once on the recording- you leave the listener wanting more. It also gives you something to develop in the live set if you wish.

The melody focuses on a three note cell of f# - e - d, appearing in the verse and chorus and with hints in the bridge. The range of notes in the verse is a sixth from b (below middle c) up to g above. The chorus uses only the notes of the cell - this song will be sung along to at gigs, you can count on it.

Not only is this a hard hitting performance, it is also an entirely persuasive example of intuitive record production from Andrew Buckton (Augustino, D4, Subtract). Heavy bands often have trouble translating the energy of their playing into a recording. Not so here. Ring that radio station and demand more Sommerset!

Stephen Small is a professional musician and Coordinator of Popular Music Studies at the University of Auckland’s School of Creative and Performing Arts. He can be contacted at s.small@auckland.ac.nz