Chords for Hiatus Kaiyote - Speaker TV Interview
Tempo:
84.75 bpm
Chords used:
Eb
Db
G
C
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hey, we're Hiatus Coyote.
And you're watching [Am] Speaker TV.
[G]
[D]
The fermenting process.
I reckon we're pretty deep into it this morning.
[Dm] I think we're all pretty deeply fermented after last night.
[G] [A] [G]
[A] [D] We generally kind of [F] think about the production [E] after we've written a song
[Dm] rather than kind of like jam [Eb] a song and then go and record it and then come back and listen to it and go
oh we need to do this differently.
It's probably a really good way to do it but it's time consuming and we're not really good at time management.
[D] But also because of that [G] you find [Dm] ways to create something in a live [Bb] environment
that might have the effect of it being [Eb] produced.
Kind of like live sampling of yourself I guess.
And then it means that when you actually go to perform it live it's seamless
because the sounds that you recorded are the way it sounds.
[Db]
[Eb] [Db] [Eb] [Db]
Well the cool thing about Nakamura is it's the [Eb] [Ab] most simple I'd say of our songs.
[C]
It's a subtle reference of that place and a talking point.
But the guys have never been there before.
And I'd been a couple of times and our manager who is more than [Bm] just a manager
he's very [Ab] creative, very involved with the visual side of things.
And [Eb] it was his idea [Fm] to just you know let's at least show the [C] guys where the [Db] song is about.
And we just went out for a couple of days and hung out and filmed it.
[Eb] Yeah, [Db] it was a nice excuse to kidnap [Fm] the boys and take them to the desert.
[Db]
[Eb] [Ab] [Eb]
[Fm] [Ab]
Being at the Grammys, especially because going to the main event after our section
because we were at the pre-telecast thing.
I don't know, I was like this is [Abm] weird.
This [Bm] isn't the best music [D] that currently exists.
I'm pretty sure about that.
I don't know.
It kind of [Eb] feels very theatrical.
I feel like more than anything it's kind of like [C]
it means that someone has let you
into a certain part of the industry.
It's like someone's given you a key and you are now accepted into a certain echelon of that reality.
But you [Fm] just got to [Bm] take all these things with a pinch of salt [G] really.
The more [Gb] and more it comes the [C] more you sort of get used to it in a way.
Because [Eb] Prince wants us to go play at his house.
He keeps emailing us.
He keeps emailing us to [Db] go play at his place.
We keep turning him [F] down.
[C] No, don't say that.
You're going to wake him.
He's going to come up [Eb] to the door at like 2 a.m.
He's not going to watch this.
[Db] [Eb] [Db] [Eb]
[Db]
And you're watching [Am] Speaker TV.
[G]
[D]
The fermenting process.
I reckon we're pretty deep into it this morning.
[Dm] I think we're all pretty deeply fermented after last night.
[G] [A] [G]
[A] [D] We generally kind of [F] think about the production [E] after we've written a song
[Dm] rather than kind of like jam [Eb] a song and then go and record it and then come back and listen to it and go
oh we need to do this differently.
It's probably a really good way to do it but it's time consuming and we're not really good at time management.
[D] But also because of that [G] you find [Dm] ways to create something in a live [Bb] environment
that might have the effect of it being [Eb] produced.
Kind of like live sampling of yourself I guess.
And then it means that when you actually go to perform it live it's seamless
because the sounds that you recorded are the way it sounds.
[Db]
[Eb] [Db] [Eb] [Db]
Well the cool thing about Nakamura is it's the [Eb] [Ab] most simple I'd say of our songs.
[C]
It's a subtle reference of that place and a talking point.
But the guys have never been there before.
And I'd been a couple of times and our manager who is more than [Bm] just a manager
he's very [Ab] creative, very involved with the visual side of things.
And [Eb] it was his idea [Fm] to just you know let's at least show the [C] guys where the [Db] song is about.
And we just went out for a couple of days and hung out and filmed it.
[Eb] Yeah, [Db] it was a nice excuse to kidnap [Fm] the boys and take them to the desert.
[Db]
[Eb] [Ab] [Eb]
[Fm] [Ab]
Being at the Grammys, especially because going to the main event after our section
because we were at the pre-telecast thing.
I don't know, I was like this is [Abm] weird.
This [Bm] isn't the best music [D] that currently exists.
I'm pretty sure about that.
I don't know.
It kind of [Eb] feels very theatrical.
I feel like more than anything it's kind of like [C]
it means that someone has let you
into a certain part of the industry.
It's like someone's given you a key and you are now accepted into a certain echelon of that reality.
But you [Fm] just got to [Bm] take all these things with a pinch of salt [G] really.
The more [Gb] and more it comes the [C] more you sort of get used to it in a way.
Because [Eb] Prince wants us to go play at his house.
He keeps emailing us.
He keeps emailing us to [Db] go play at his place.
We keep turning him [F] down.
[C] No, don't say that.
You're going to wake him.
He's going to come up [Eb] to the door at like 2 a.m.
He's not going to watch this.
[Db] [Eb] [Db] [Eb]
[Db]
Key:
Eb
Db
G
C
D
Eb
Db
G
Hey, we're Hiatus Coyote.
And you're watching [Am] Speaker TV. _ _ _
[G] _ _ _ _ _ _ _ _
_ _ _ _ _ _ [D] _ _
_ The fermenting process.
I reckon we're pretty deep into it this morning.
_ [Dm] I think we're all pretty deeply fermented after last night. _
_ [G] _ _ [A] _ _ _ _ [G] _
_ _ [A] _ [D] We generally kind of [F] think about the production [E] after we've written a song
[Dm] rather than kind of like jam [Eb] a song and then go and record it and then come back and listen to it and go
oh we need to do this differently.
It's probably a really good way to do it but it's time consuming and we're not really good at time management.
_ _ [D] But also because of that [G] you find [Dm] ways to create something in a live [Bb] environment
that might have the effect of it being [Eb] produced.
Kind of like live sampling of yourself I guess.
And then it means that when you actually go to perform it live it's seamless
because the sounds that you recorded are the way it sounds.
[Db] _ _ _ _ _
_ _ [Eb] _ [Db] _ _ [Eb] _ _ [Db] _
_ _ _ Well the cool thing about Nakamura is it's the [Eb] [Ab] most simple I'd say of our songs.
[C]
It's a subtle reference of that place and a talking point.
But the guys have never been there before.
And I'd been a couple of times and our manager who is more than [Bm] just a manager
he's very [Ab] creative, very involved with the visual side of things.
And [Eb] it was his idea [Fm] to just you know let's at least show the [C] guys where the [Db] song is about.
And we just went out for a couple of days and hung out and filmed it.
[Eb] Yeah, [Db] it was a nice excuse to kidnap [Fm] the boys and take them to the desert.
_ [Db] _
_ _ [Eb] _ [Ab] _ _ _ _ [Eb] _
_ _ _ [Fm] _ _ _ _ [Ab] _
_ Being at the Grammys, especially because going to the main event after our section
because we were at the pre-telecast thing.
I don't know, I was like this is [Abm] weird.
This _ [Bm] isn't the best music [D] that currently exists.
I'm pretty sure about that.
I don't know.
It kind of [Eb] feels very theatrical.
I feel like more than anything it's kind of like [C]
it means that someone has let you
into a certain part of the industry.
It's like someone's given you a key and you are now accepted into a certain echelon of that reality.
But you _ [Fm] just got to [Bm] take all these things with a pinch of salt [G] really.
The more [Gb] and more it comes the [C] more you sort of get used to it in a way.
Because [Eb] Prince wants us to go play at his house.
He keeps emailing us.
He keeps emailing us to [Db] go play at his place.
We keep turning him [F] down.
_ [C] No, don't say that.
You're going to wake him.
He's going to come up [Eb] to the door at like 2 a.m.
He's not going to watch this.
[Db] _ _ _ _ _ [Eb] _ [Db] _ _ [Eb] _ _
_ [Db] _ _ _ _ _ _ _
And you're watching [Am] Speaker TV. _ _ _
[G] _ _ _ _ _ _ _ _
_ _ _ _ _ _ [D] _ _
_ The fermenting process.
I reckon we're pretty deep into it this morning.
_ [Dm] I think we're all pretty deeply fermented after last night. _
_ [G] _ _ [A] _ _ _ _ [G] _
_ _ [A] _ [D] We generally kind of [F] think about the production [E] after we've written a song
[Dm] rather than kind of like jam [Eb] a song and then go and record it and then come back and listen to it and go
oh we need to do this differently.
It's probably a really good way to do it but it's time consuming and we're not really good at time management.
_ _ [D] But also because of that [G] you find [Dm] ways to create something in a live [Bb] environment
that might have the effect of it being [Eb] produced.
Kind of like live sampling of yourself I guess.
And then it means that when you actually go to perform it live it's seamless
because the sounds that you recorded are the way it sounds.
[Db] _ _ _ _ _
_ _ [Eb] _ [Db] _ _ [Eb] _ _ [Db] _
_ _ _ Well the cool thing about Nakamura is it's the [Eb] [Ab] most simple I'd say of our songs.
[C]
It's a subtle reference of that place and a talking point.
But the guys have never been there before.
And I'd been a couple of times and our manager who is more than [Bm] just a manager
he's very [Ab] creative, very involved with the visual side of things.
And [Eb] it was his idea [Fm] to just you know let's at least show the [C] guys where the [Db] song is about.
And we just went out for a couple of days and hung out and filmed it.
[Eb] Yeah, [Db] it was a nice excuse to kidnap [Fm] the boys and take them to the desert.
_ [Db] _
_ _ [Eb] _ [Ab] _ _ _ _ [Eb] _
_ _ _ [Fm] _ _ _ _ [Ab] _
_ Being at the Grammys, especially because going to the main event after our section
because we were at the pre-telecast thing.
I don't know, I was like this is [Abm] weird.
This _ [Bm] isn't the best music [D] that currently exists.
I'm pretty sure about that.
I don't know.
It kind of [Eb] feels very theatrical.
I feel like more than anything it's kind of like [C]
it means that someone has let you
into a certain part of the industry.
It's like someone's given you a key and you are now accepted into a certain echelon of that reality.
But you _ [Fm] just got to [Bm] take all these things with a pinch of salt [G] really.
The more [Gb] and more it comes the [C] more you sort of get used to it in a way.
Because [Eb] Prince wants us to go play at his house.
He keeps emailing us.
He keeps emailing us to [Db] go play at his place.
We keep turning him [F] down.
_ [C] No, don't say that.
You're going to wake him.
He's going to come up [Eb] to the door at like 2 a.m.
He's not going to watch this.
[Db] _ _ _ _ _ [Eb] _ [Db] _ _ [Eb] _ _
_ [Db] _ _ _ _ _ _ _