Track analysis: Pendulum ‘Granite’

Track analysis: Pendulum ‘Granite’

11 January, 2008 | 10.30AM

• Written by: culprit1
• Filed under: Music News: track analysis

Still going strong in Beatport’s drum & bass chart (despite being released back in November 2007), is the excellent single ‘Granite’ from the irrepressible Aussies Pendulum.

I thought it would be fun to break the track down from a technical point of view, second-by-second, and analyze all the core elements that make it.

It may give some insight into Pendulum’s studio tricks - ‘Granite’ was my favourite track of 2007.

The band encountered a plethora of message board-based ‘sell-out’ criticism when this single was released, much of it totally unwarranted and deeply unfair.

Pendulum introduced Led Zep guitars to a drum & bass track – so what?!

Electronic music thrives on innovation and some classic tunes were thoroughly maligned on their original release.

Whilst I personally prefer the more subtle and soulful production of my fellow Welshman High Contrast, there’s no denying that Pendulum have been the mainstream breakthrough success of recent times.

Hell, they’ve even garnered daytime radio play (no mean feat nowadays) and a Prodigy remix commission.

It is a credit to Pendulum’s studio prowess that they have established an original sound that is entirely their own. This makes their music instantly recognisible on the radio or in the club.

And ‘Granite’ is full of the classic Pendulum musical staples.

Video: Pendulum ‘Granite’

Pendulum ‘Granite’: second-by-second

0.00 The track kicks off with a familiar sounding half-speed tribal loop similar to the introduction heard on the band’s breakthrough hit ‘Slam’ back in 2006.

Atop of the powerhouse drums, we can also detect the first growlings of the bass. Also present are a distant choir of voices (introduced at 0.15 alongside a 1960s-style theremin motif).

0.27 The band introduce those controversial guitars and simultaneously double the tempo, slightly lowering the drums in volume to smooth the change in pace and thus ensuring maximum impact when the drums really kick in at 0.48.

0.37 Utilisation of a pedal note pattern in the bass, in order to increase tension during the epic build-up.

A pedal note is a musical term that is used to describe an unchanging bass note.

It is often used in compositions to express tension or excitement before release back in to a chordal pattern.

0.48 The drums, oh the drums. They’ve kicked in good and proper, with Pendulum introducing a memorable ‘hoover’ synth hook, again similar to the kind heard on their debut album ‘Hold Your Colour’.

The bassline also enters at this point, underpinning the propulsive drums with true menace.

1.11 The lead vocal makes an appearance for the first time, seasoned with some top-notch processing and barely-discernible distortion.

Note how Pendulum cleverly pull back on the instrumentation as not to detract from the vocal or muddle the frequencies.

They’re giving the vocal line adequate space to ‘breathe’ and it becomes the main focus of the listener’s attention.

1.43 The first entrance of the bass riff that will reappear later at 3.06 with more guitars, proving Pendulum are adept at the ever-popular compositional tool “a hint of what’s to come.”

2.05 A rather excellent musical pause, not often heard in dance music, before the band give the vocal line a break and re-introduce the keyboard melody.

2.55 Note how the chords change from the previous pattern under the line “…the future”…the lead vocal mutating in to a slow-moving synth line.

This is a great musical touch and really adds longevity to the track, as this kind of production trickery will be further appreciated on repeated listens.

The new chordal pattern rises and falls with real musicality, underpinned by the ever-present gnarly bass.

3.06 The sense of drama is increased yet again as all instruments drop out apart from a filtered version of the bass riff we first heard at 1.43.

This creative use of EQ means that the entrance of the distorted guitars (at 3.12, doubling the riff) adds real excitement.

3.28 The now-familiar bass riff becomes ever more powerful after some seriously impassioned yelling and an expertly-handled breakdown.

The track reaches its earth-shattering climax by finishing with another Slam-style keyboard line and a driving crash cymbal at 3.50.

The vocals make a final appearance before fading out amongst a sea of ethereal distortion and effects.

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