Chord. Indeed. This is one of those.
Defined (via Webster’s): noun \ˈkȯrd\ three or more musical tones sounded simultaneously
Oof, that makes it sound pretty boring. Here’s how Chord the band, which features members of Pelican, X-Bax, and Sacred Cities, explain their performance of the Gmaj7 chord:
This G rooted non-dominant seventh chord presents itself as a major/minor seventh consisting of root (G), major third (B), perfect fifth (D), and major seventh (F#). The appearance of movement is created here by emphasizing different diads present in various voicings of the chord, yet the chord itself is always used harmonically rather than melodically.
But however arranged, however it works, many may not be able to fully comprehend the theoretical conditions set up that make this chord so wholly absorbing. “Gmaj7 (Miracle Chord)” features many tones. There are tones inside the tones, and outside of them, too. These simultaneous tones last for nearly 40 minutes, and not a second feels wasted. But one thing bothers me: the meager applause at the end. This thing should have drawn an earthquaking howl. Where ambient plows its way into the arena of rock, that’s where we find this chord. This chord — guitars, drums, searing feedback, and all — could fill the Super Dome. And all the spaces between the thousands of slack-jawed onlookers, too. Up their nostrils, under their nails, between hair follicles.
Certainly, a chord is more than just a chord. And with “Gmaj7 (Miracle Chord),” it’s even more than just Chord (the band, note the capital “C”). For this performance, Chord were joined by Miracle Condition, supplementing the already-super group into a kind of mutant super-super group called Miracle Chord. Both this track and another lengthy live version by Chord alone can be found on an album called Gmaj7 (Empty Bottle 11/20/10), which is available for purchase on its own or as a bonus download for buying the LP edition of Chord’s new studio album, Gmaj7. All versions are available here starting today.