Mendel’s analysis brilliantly illustrates how Muse weaponizes Baroque harmonic structures to elevate modern rock into a sophisticated study of tension and resolution. It is a rare, lucid bridge between academic musicology and contemporary production.
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PRODUCER reacts to MUSE - The Sickness in You & I
Added:Hey, what's up everyone? Mendel here. I hope you are doing awesome and wonderful. So, people slid in my DMs and comment on my videos, "When am I going to react to another Muse video?" And today is today. And some friends of mine said, "You have to check out the song The Sickness and You and I." So, here we are. I've split up the song into different sections or in different stems like drums. We have separate bass, other, and voice, which I did with RX 12. Links in the description box down below. And the sponsor of today's video is Sennheiser. More about them later.
Here we go. Let's just dive right into it. I'm going to respond from this from a producer point of view, but also from a Muse {slash} music lover point of view. Just so you know, I'm going to pause a bunch of times, just so you know. Here we go.
Okay, that's a cool riff. And I heard a chromatic thing that brings me back to like 1999 Muse.
>> [music] >> So, it's in drop D tuning. I heard like a minor third.
>> [music] [music] >> That's cool.
>> [music] [music] >> Ah, cool.
>> [music] >> Dig it.
Let's continue.
Now, I'm going to keep the guitar here.
>> [music] [music] >> That's cool. That's heavy. I think there's an octave below that.
>> [music] [music] [music] >> Short cut in between. This video is sponsored by Sennheiser. I recently try out the Sennheiser HD 630 headphones or 630 headphones. The thing I love about them because I've been trying them out for over 3 months now, every single day.
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Sennheiser, thanks so much for sponsoring this video.
Back to the music. Here we go. There's some cool background stuff going on on the on the vocal.
>> [music] >> This riff reminds me of that song they released a couple years ago that heavy riff song.
Was it Unraveling? Can't remember, but cool riff, cool riff.
>> [music] >> Do a doubling those vocals with the synth?
>> [music] [music] >> What's happening there in the background?
>> [music] [music] [music] [music] >> Okay, I like let's let's figure out this chorus.
Here we go. Almost started to stutter.
>> [music] >> G minor?
>> [music] >> That's a B flat major.
>> [music] >> And I think there's a small A major in there to make it harmonic minor because it's Muse.
>> [music] >> There it is.
Back to B minor or sorry, D MINOR.
>> [music] [music] >> D MINOR.
AND THERE WE HAVE IT.
>> [music] >> YES.
>> [music] [music] [music] >> DEAR mother god, love that. Ah.
Think we have like the build-up.
>> [music] >> That's sexy.
Just there.
Sexy.
>> [music] [music] >> That's a cool lick. So far, I'm digging the overall vibe.
Personal taste, not a fan of just the high vocals. It fits the song 100% just I think like sometimes when I listen to this, I just think I'm too biased because every time time every time when new Muse comes out, I hope it's like Showbiz, Origin of Symmetry, Hullabaloo B-sides, that kind of stuff.
Which is a biased expectation.
But this is like the new era of Muse and it fits them well, I'd say.
>> [music] [music] >> So stuff like the the just a simple line like that on the right spot can do wonders.
>> [music] >> You know what's You know what's cool about the G note in there?
>> [music] >> Because I have the sense that on the background we have that A chord again.
Yeah, I think so.
The cool thing about that is good songwriting is um this is something Bach did a lot as well. So let's say we're in D minor like in this song.
And then we play the A major before we go back to D minor.
But if you add a G in there, you get like an A minor dominant.
>> [music] >> And this note is in the vocal line. So you get like >> [music] >> and that's more tension because this moving note wants to go back to >> [music] >> So it's like >> [music] >> Love it.
>> [music] [music] [music] >> Okay, so now I have a feeling the big breakdown comes.
We had two verses, two choruses.
HERE WE GO.
>> [music] [music] [music] >> YES, YES, YES, YES, YES. SO NOW it becomes a bit more darker and suddenly we have We now have >> [music] >> metal.
Yes, there we go.
>> [music] >> And then down.
Devil's interval.
>> [music] >> I'm not getting the rhythm right, but it's you get the point.
>> [music] >> Cool.
Dig it.
>> [music] >> Did Pardon my French.
But did Muse just do like [ __ ] uh 16th and eighth like metal chugs, like gallops, like that stuff?
>> [music] [music] [music] >> I'M CRAVING [music] YOUR TOUCH.
WILL SAVE >> BEFORE I CONTINUE, THIS IS WHAT I LOVE about Matt's vocals and tension. He goes to the seventh note of the harmonic minor scale.
>> [music] >> Which creates tension because you want to do like Right?
Love it. But he doesn't do the note. He lets the music do it.
>> [music] [music] [music] [music] [music] [music] [music] >> BUT THAT >> [laughter] >> YEAH.
LET'S [ __ ] GO.
THAT WAS SICK. Oh my goodness.
That was heavy. That I'll I'll give it to him.
Here's the thing. A lot of times when I heard Muse do the trying to go into metal territory. I was like, okay, I get it.
It's heavy. Cool.
Personally, I just I thought the heaviest riff Muse ever did was like from Ashamed. Like the >> [music] >> that riff, which was for me heavier than even Metallica in my opinion.
But this Yeah, I feel it.
You know what's cool?
Because we have the gallops at the intro.
That thing.
But then when it hits, it doesn't do the gallops. It just goes full on straight heaviness.
>> [music] [music] >> Some cool stuff going on with the vocals as well.
>> [music] [music] >> There's a tempo dip.
>> [music] [music] [music] [music] >> Dude, that transition into the next song, that whole part is probably one of my favorite Muse parts of all time by now.
Just this vibe?
>> [music] [music] >> Wait, did I not notice a modulation?
Oh.
>> [music] >> That's clever. That's clever.
Then go to F minor F sharp minor.
>> [music] [music] [music] >> Now comes the five chord.
Uh dominant as well.
>> [music] >> Is it dominant?
Whoops.
>> [music] >> Maybe that's dominant.
>> [music] >> Let me put the guitar away. This this is I'm I'm I'm the the stoked.
End verdict.
Dig it.
Overall, again, personal taste.
Not fully feeling the high Prince-like, in my opinion, um vocals.
Heaviness is definitely there.
We still have our classical influences.
The muse really started to do like around um Origin of Symmetry, especially Absolution.
I dig it. It's a banger.
Definitely a banger. I dig it.
What do you think? Let me know that in the comments. Thanks so much for watching, and you know what? See you next time. Cheers.
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