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Radioactive Deconstructed
Skip to: Audio/Video At a Glance Song Overview Structural Analysis Momentum/Tension/Intensity (MTI) Lyrics & Harmonic Progression The Music The Vocal Melody Primary Instrumentation, Tone & Mix Compositional Assessment Hit Factor Assessment Conclusion Why it’s a Hit Songwriter/Producer Take Aways
Audio/Video Back to Top
At a Glance Back to Top
Artist: Imagine Dragons Song/Album: Radioactive/Night Visions Songwriters: Reynolds, McKee, Sermon, Grant, Mosser Genre: Rock Sub Genres: Alt/Indie/Electro/Dubstep/Pop Length: 3:02 Structure: A-B-A-B-C-B Tempo: Moderate Half-Time (136 bpm) First Chorus: 0:56 / 31% into the song Intro Length: 0:28 Outro Length: n/a Electric vs. Acoustic: Primarily electric (except for the intro) Primary Instrumentation: Electric Guitar, Synth, Acoustic Guitar Lyrical Theme: Inspirational (overcoming addiction/depression) but subject to one’s own interpretation Title Occurrences: “Radioactive” appears 6 times within the song, twice in each chorus Primary Lyrical P.O.V: 1st Person
Song Overview Back to Top
If you want to see an example of a song that is meticulously well crafted on all fronts, then
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This is a song that has it all – infectious, engaging and memorable melodies, multiple “payoffs,” multiple “magic moments,” deep, engaging lyrics that can be interpreted in a multitude of ways, stellar vocals, multiple sub-genre influences and the list goes on and on.
To date Radioactive has landed in the top 10 in 12 countries and hit #1 on 3 charts.
As you’ll see within the report, there’s a lot to be learned from Radioactive which will certainly help take your songwriting and producing skills to the next level!
Structural Analysis Back to Top
At-a-Glance
Timeline (Shows when each section hits within the timeline of the song)
Section Length (Length of each individual section within the song)
I=Intro, V=Verse, PC=Pre-Chorus, CHR=Chorus, BRG=Bridge
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Radioactive contains 9 individual sections within its framework, with the longest landing at 0:28 and the rest landing at 0:14.
Key Points
Section Length Uniformity
Notice the uniform length of each section within the song. With the exception of the 0:28 intro, all of the others land at exactly half that at 0:14.
Additionally, notice that even though the full chorus is 0:28 long, it’s essentially broken into two 0:14 halves (i.e. the “I’m waking up” through “welcome to the new age” is one half, and the “Whoa..I’m radioactive” is the second half).
The end result is that the general flow of the song is predictable (though not in a negative way), and as a result heightens the engagement and memorability factor for the listener. If the section lengths were all over the place, it would be much more difficult for the listener to process and absorb the song as a whole.
Frequent Sectional Turnover
Considering that each section aside from the intro is quite short in nature (including both halves of the chorus), the listener is always kept engaged by something new entering the mix once every 0:14.
Top 10 Hit Pop Song Comparison
Even though Radioactive is a Rock song, it does possess certain qualities that we find in many chart-topping Pop songs (and we’ll be exploring this further in-depth later within the report). For now, let’s see how Radioactive’s section length compares to the 23 songs that landed in the Billboard Pop Songs Chart top 10 during Q1-2013:
Radioactive / Top 10 Hit Pop Song Averages
Intro: 0:28 / 0:11
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Verse: 0:14 / 0:26
Pre-Chorus: 0:14 / 0:15
Chorus: 0:28 / 0:30
Bridge: 0:14/ 0:26
As you can see, the only 2 sections where Radioactive is pretty much directly in-line with top 10 Pop song averages is the pre-chorus (it’s just 0:01 shorter) and chorus (it’s 0:02 shorter). Radioactive differs in the following areas:
The intro is 0:15 longer than the average
The verse is 0:12 shorter than the average
The bridge is 0:12 shorter than the average
The key point to take note of here is the length of the intro. It’s LONG, more than double the length of the average. And as you know, the rule of thumb for mainstream songs (and non- mainstream, for that matter) is to keep them short, hook the listener in and get on with it. Radioactive’s intro completely goes against the grain, but that’s not to say that it’s not effective. On the contrary, it’s quite effective, and we’ll get into the details within the Music/Instrumentation/Vocal section of the report.
Additionally, and we’ll be discussing this later as well, you can also consider the pre-chorus to be an additional stanza of each verse section (though that’s not how we’ll be looking at it within this report). If you do, then the full verse section would land at 0:28, which is almost exactly the same as the hit Pop song average (0:26).
Now, let’s see how Radioactive’s section count compares to the 23 songs that landed in the Billboard Pop Songs Chart top 10 during Q1-2013:
Radioactive / Top 10 Hit Pop Songs
Intro: 1 / 1
Verse: 2 / 2
Pre-Chorus: 2 / 2
Chorus: 3 / 3
Bridge: 1 / 1
As you can see, Radioactive’s section count is exactly in line with the vast majority of top 10 hit
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Pop songs. Additionally, it utilizes an A-B-A-B-C-B form (verse – chorus – verse – chorus – bridge – chorus), which is still by far the most popular structure utilized in today’s chart- topping hits.
Total Section Analysis (Total time consumed by each section and its percentage of the total song)
Radioactive is comprised of 5 primary sections within its framework (i.e. all choruses, verses and pre-choruses, plus the intro and bridge), accounting for 46% of the song’s total composition all the way down to just 8%.
As you can see, the vast majority of time within the song was allocated to that exceptionally powerful and infectious chorus, which was well warranted. Note the following regarding its high percentage relative to the other sections:
There were more chorus occurrences within the song than any other section (i.e. 3 compared to the 2 verses and pre-choruses and the 1 bridge and intro).
The full chorus is the longest section of the song along with the intro (0:28). All of the others landed at half the length.
As for the other sections, all except for the bridge were given equal weight within the song (even the intro, which is an extreme rarity), each comprising 15% of its total composition. The bridge was allocated the least amount of time at 8%.
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Now, let’s now see how the sectional breakdown of Radioactive compared to the 23 songs that landed in the Billboard Pop Songs Chart top 10 during Q1-2013:
Intro
Radioactive: Comprises 15% of the total song.
Q1-2013 Average: Comprises 5% of the total song.
Comparison: The percentage of time allocated to the intro is 10% more than the Q1-2013 top 10 Pop song average.
Verse
Radioactive: Comprises 15% of the total song.
Q1-2013 Average: Comprises 26% of the total song.
Comparison: Radioactive allocated 11% less time to the verse compared to the average.
Pre-Chorus
Radioactive: Comprises 15% of the total song.
Q1-2013 Average: Comprises 15% of the total song.
Comparison: The percentage of time allocated to Radioactive’s pre-chorus is identical to the Q1-2013 top 10 average.
Chorus
Radioactive: Comprises 46% of the total song.
Q1-2013 Average: Comprises 43% of the total song.
Comparison: Radioactive allocated 3% more time to the chorus compared to the average.
Bridge
Radioactive: Comprises 8% of the total song.
Q1-2013 Average: Comprises 11% of the total song.
Comparison: Radioactive allocated 3% less time to the bridge compared to the average.
Summary
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Overall, Radioactive allocated significantly less time to the verse, slightly less time to the bridge, the same amount of time to the pre-chorus, slightly more time to the chorus and substantially more time to the intro compared to the average of all the top 10 hit Pop songs of Q1-2013.
And again, if you take the pre-chorus out of the equation (and refer to it as another stanza within the verse), the total amount of time allocated to the verse would be 5% greater than the average.
So all in all, aside from the intro and whether or not you want to refer to the pre-chorus as a verse, the total sectional composition of Radioactive is pretty close to top 10 Pop song averages.
Music, Instrumentation & MTI (Momentum/Tension/Intensity) Back to Top
(Evaluation of the intensity of each section within the song timeline on a scale of 1 – 10, 10 being the most intense)
When we talk about a song’s MTI level, we’re referring to how fluctuations in momentum, tension and intensity levels are utilized in each section of the song.
*Note - Sectional MTI level specifics will be discussed in the Music, Instrumentation & Vocal section of the report that follows this section.
As you can see in the graph above, Radioactive is broken into 3 primary MTI level segments, each of which peaks in the chorus:
Progression 1
The first MTI level progression that occurs within the song is the build from the intro through the first chorus with some dips along the way. Points to note:
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The MTI level immediately jumps up from the “mellow” nature of the intro into the “Dubstep” natured first verse.
The MTI level takes a sudden dip between the “gasping” inhale/exhale that occurs at the end of the first verse (during the split second of silence). The tension is still in the air, however.
The MTI level then increases a notch over the first verse in the pre-chorus due to the electric guitar that was added into the mix.
The MTI level then takes a slight dip during the transitional portion between the pre- chorus and chorus followed by skyrocketing upward when the full chorus slams in on the lyric “up.”
A very slight dip in level occurs during the “welcome to the new age” segment where the kick drum is briefly pulled from the mix, resulting in a minor decrease in thundering intensity.
Progression 2
The second MTI level progression runs from the second verse through the second chorus. Points to note:
Verse 2 possesses the same overall MTI level as the preceding pre-chorus due to the fact that the electric guitar is present within the mix in both sections.
A very slight dip in MTI level occurs during the “whoa” transition between verse 2 and pre-chorus 2.
Considering their exceptionally similar nature (besides the “flute” synth within the mix), the MTI level of the second verse and pre-chorus are virtually identical.
The same MTI level flow that defined the preceding transitional segment through the end of the first chorus is the same the second time around.
Progression 3
The third and last MTI level progression within the song sees the overall level taking a significant plunge in the bridge before rocketing back up into the final chorus and out.
Methods Of Shifting MTI Levels Throughout The Song
Shifts in MTI levels throughout Radioactive are brought about in 2 primary manners:
By increasing or decreasing the intensity of a section via shifts in the nature of the vocal delivery, the heightening or lowering of overall sonic levels and/or instrumentation
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being added or detracted from the mix.
By changing up the momentum between sections.
INTENSITY
Vocally
Dan Reynolds does a fantastic job of shifting MTI levels throughout the song via the nature of his vocal delivery. Notice that there are 3 primary intensity levels:
Lowest MTI Level: The nature of his vocal in the bridge.
Moderate MTI Level: The nature of his vocal in the verse and pre-chorus sections of the song.
High MTI Level: His ultra intense delivery within the chorus.
Sonically
Notice how the overall levels within the song accentuate the vibe of each section. Refer to the waveform section below for details.
Instrumentation
Notice how certain instrumentation is added or detracted from sections throughout the song which results in a change in the overall intensity level. For example:
The acoustic guitars provide the intro with a mellow natured vibe.
The “Dubstep synth” provides an intense, “off-kilter” vibe which most prominently defines the first verse, but is also a key factor in the pre-chorus as well.
The clean electric guitars provide a “mellowing out,” “positive” natured vibe that offsets the Dubstep synth in both pre-chorus sections as well as the second verse.
The electric bass that enters the mix within the chorus helps to take the intensity of the song to its apex.
The “flute” synth that’s present within the second pre-chorus and bridge provides a soothing, less intense yet semi-melancholy natured vibe.
The nature of the synths within the bridge provide an underlying tension throughout the section.
MOMENTUM
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Notice that the majority of the song possesses the same drum pattern, resulting in a pretty stable drive between sections. Key shifts in momentum are brought about:
When the drums are all together pulled from the mix (i.e. the bridge)
Via shifts in the nature of Reynolds’ vocal delivery (reference the Vocal Melody section of the report for specifics).
Additional instrumentation being added into the mix (e.g. the “flowing” nature of the electric guitars within the pre-chorus sections).
Waveform
Looking at the waveform graphic above, you can easily see how sonic levels and the use of compression vary throughout the song.
As you can see, save for the intro and bridge, Radioactive is a very LOUD song, with the levels and use of compression being pushed to the limits to achieve maximum sonic impact, especially during the “triumphant” and powerful chorus.
Lowest sonic levels within the song
The “mellow,” semi-acoustic nature of the intro.
The “gasping” transition that occurs between the first verse and the first pre-chorus.
Next level up
The atmospheric nature of the bridge.
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Next level up
The intro to the chorus where the drums are briefly pulled from the mix.
Next level up
The verse and pre-chorus, which are pretty much on par with one another. Notice that the sonic level of the first verse is slightly below that of the second considering that the second also includes the electric guitar within the mix (which is featured in both pre- choruses).
Sonic level peak within the song
The chorus. Looking at the waveform graphic above, you can see that the levels are pushed up as far as they can go. Additionally, actively listen to the chorus sections. You can hear that they’re at the point of total saturation, bordering on distortion.
Despite sonic levels being pushed up quite far throughout the majority of the song, just enough sonic level diversity was utilized to prevent listening fatigue from setting in, making for a very engaging listening experience.
SECTIONAL COMPARISON: AT-A-GLANCE Here we’ll take an at-a-glance look at the key differences between “like” sections within the song . The purpose is to see how these sections are differentiated from one another, resulting in a more engaging listening experience (i.e. factors that keep the song “fresh” throughout).
KEY: AG (Acoustic Guitar) EG (Electric Guitar) EB (Electric Bass) S-D (Dubstep Synth) S-SF (“Sci- fi” Synth) S-RE (“Radioactive Effect” Synth) S-F (“Flute Natured” Synth) LV (Lead Vocal) BV (Background Vocal)
Red Font: Indicates a new instrument in the mix relative to the preceding “like” section
Verses
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Recap:
Verse-2 added the “pre-chorus” electric guitar into the mix.
The lead vocal progression remained constant between both occurrences, but the nature of the rhythm changed. The lyrics differed between both sections, as well as the section endings (i.e. the “gasp” vs. the “whoa-oa.”
The overall MTI level of the second verse is a touch above that of the first due to the electric guitar in the mix.
Pre-Choruses
Recap:
The second pre-chorus added the “flute natured” synth into the mix.
The nature of the lead vocal remained constant between both sections, as did the lyrics.
The MTI level of both sections is basically on par with one another.
Choruses
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Recap:
Each chorus section is virtually identical in nature. The primary difference stems from how they end (i.e. the additional snare hit after the second chorus and the different nature of the “radioactive” synth at the tail end).
PROGRESSION
The entire song basically follows a Bm – D – A – E progression. See the Lyric / Harmonic Progression / Word & Syllable Count section for details.
DRUMS
Notice that virtually the same drum pattern is utilized throughout the entire song (except during the bridge where the drums are pulled from the mix).
Kick – Snare – Kick Kick – Snare – Kick Kick - Snare – Kick – Snare – Kick Kick
For those of you who are Velvet Underground fans, listen to Venus In Furs and you’ll hear virtually the same drum pattern. Whether Imagine Dragons were directly influenced by it or not, they made a very good choice in rhythm considering its “dirge” like nature perfectly serves the song (as it did for Venus In Furs as well).
“MAGIC MOMENTS”
What I mean by “magic moments” are certain aspects of a song that take the listener’s experience to a level far beyond what they were expecting.
This could be a particular lyric, the manner in which a particular lyric or line is sung, a synth effect, an unexpected piano or guitar progression, etc… Just something that makes the listener go WOW!!! and takes the song to the next level.
In the case of Radioactive, there were actually 2 “magic moments”:
The “Gasp”
The first is the “gasp” natured inhale/exhale that occurs between the first verse and first pre- chorus following the line “I’m breathing in the chemicals.” Yes, the lyrics are effective in the sense that they tell you what’s happening to the protagonist within the story, but then when you actually HEAR THE PROCESS of him “breathing in the chemicals,” it takes it to a whole new level far beyond what just hearing a description could ever do. It catches the listener by surprise the first time that they hear it, and still maintains a high engagement value with each subsequent listen.
The “Vocal Jump”
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The second is that lead vocal octave jump that occurs near the beginning of the chorus. Remember, there was nothing really all that intense going on with the vocal melody during the verse and pre-chorus sections, and the monotone B delivery of the lyrics “I’m wakin’ up” at the onset of the chorus continued on in the same fashion.
But what follows is that ultra-intense octave jump on the lyrics “I feel it…” that I guarantee caught you of guard and sent shivers down your spine the first time that you heard it. It’s ultra- intense, and you weren’t expecting it. What’s really “magic” about it is that it still retains the same impact with each subsequent listen, even though you know it’s coming.
MUSIC / INSTRUMENTATION / VOCALS – SECTION BY SECTION Note: Pan is represented on a scale from 9:00 to 3:00 (i.e. left to right, with 12:00 being right up the middle). Keep in mind that in most cases an instrument will bleed throughout the entire mix, but the pan depicted here represents its primary placement in the mix (i.e. where the level is most pronounced).
Intro (0:00 – 0:28)
Vocals & Primary Instrumentation Featured In The Mix:
Acoustic Guitar-1 (Slight reverb – Strumming Rhythm – Mid/up in the mix) 10:00
Acoustic Guitar-2 (Slight reverb – Individual Note Picking – Mid/up in the mix) 1:00 – 2:00
Electric Guitar (Clean in nature – mid level in the mix) 12:00
Synth (“Air Raid” synth – enters the mix around 0:14, grows in prominence and rises in pitch through the tail end of the section) Starts around 10:00, becomes most prominent around 11:00/12:00 but bleeds throughout the mix
Transition Effect (Warped backmasking – mid level in the mix) 12:00
Vocal (Male – multi-tracked – ample reverb – mid level in the mix) 10:00 – 2:00 (but bleeds throughout)
As previously mentioned, Radioactive’s intro is quite long by mainstream standards, clocking in at 0:28. Within an intro that long, you run the risk of losing the listener’s attention UNLESS it possesses certain qualities geared to hook the listener in and keep them engaged until the verse takes over. Thankfully in Radioactive’s case, it possesses such qualities as you’ll see.
MTI Level
Radioactive initially kicks off in a laid back. mellow manner during the first half of the intro. Once the “air raid” synth enters into the mix, however, the tension and intensity start to increase, ultimately peaking at the tail end of the section.
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Vibe
Initially laid back and relaxed with a subtle melancholy nature. The vibe changes to one of intensity once the “air raid” synth enters the mix.
Key Points
To counter it’s long length and prevent the section from becoming overly monotonous, notice that Radioactive’s intro is essentially split into two 0:14 halves, each possessing its own focal point characteristics.
Notice that overall it’s a pretty “busy” section – both musically and vocally. There are 3 guitars (2 acoustic and 1 electric), each of which is doing its own thing at the same time coupled with the vocal “whoa-oh’s.” That’s just during the first half. The second half then adds the “air raid” synth into the mix as previously mentioned.
Bottom line – notice how each instrument and their associated progressions jibe perfectly with one another in creating an engaging sonic landscape along with the vocal. There’s a lot for the listener to sink their teeth into.
Repetition & Diversifying Factors
Notice the combination of repetition and diversifying factors that enable the section to get completely engrained within the listener’s head without causing them to “get bored” and tune out:
Repetition – First Half of the Section:
The “Whoa-o-oh” vocal melody is repeated twice in the same exact manner (i.e. the same vocal melody, progression and rhythm).
This is also pretty much the case with the backing music as well (specifically the guitars).
Now, after the second time around (which amounts to 0:14 – half the length of the section), there needs to be some diversity or else you’re going to increase the chances of losing the listener’s interest. Here’s what happens:
Repetition – Second Half of the Section:
The “Whoa-o-oh” vocal melody and backing music are repeated once again in the same manner as the first 2 go-arounds.
Diversifying Factors – Second Half of the Section:
The “Air Raid” synth enters into the mix at a very low level during the third “Whoa-o-oh”
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as mentioned above. As subtle as it is, it does provide variation and as a result hold the listener’s attention.
It’s during the final 0:07 of the section where the real diversity occurs. The “whoa-o-oh” is now just a prolonged “oh” (see the vocal melody section of the report for details) and the “air raid” synth now becomes the focal point as it increases both in level and pitch.
Speaking of the “air raid” synth, notice how its qualities provide the perfect build and transition from the mostly acoustic nature that defined the first half of the intro into the synth dominated Dubstep verse that follows.
Additionally, notice the “warp out” “backmasking” effect that occurs at the tail end of the section. This provides the final transition/transformation into the Dubstep verse that follows, enabling it to have increased impact when it slams in.
So – overall is Radioactive’s intro effective? Absolutely. It’s evocative, engaging, and brilliantly bridges and transitions a mellow, guitar driven first half into an electro Dubstep natured verse.
Transition Point – Intro into Verse 1: Backmasking warp out following “air raid” synth build.
Verse-1 (0:28 – 0:42)
Vocals & Primary Instrumentation Featured In The Mix:
Synth (Fuzzed “Dubstep” synth – mid/up in the mix ) Primary around 11:00/12:00
Drums (Electronic – Dull/lo-fi Kick and Bright Snare . Snare is up-front in the mix, Kick is low to mid) Primary around 12:00
Lead Vocal (Male – Dan Reynolds – Slight reverb and delay – up front in the mix) 12:00
Vibe
In contrast to the more laid back, semi-somber nature of the preceding intro, here in the first verse the vibe changes over to one of an intense uneasiness with a raw nature. Notice how this is brought about via each element within the mix:
The dramatic nature of the vocal delivery
The raw “Dubstep” natured fuzz synth provides the section with an off-kilter, uneasy feeling.
The intense, dark nature of the lyrics (see the lyric section of the report for details)
The “Velvet Underground Venus In Furs” dirge like drum pattern and its associated qualities (dull, booming kick, brash snare).
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MTI Level
The overall MTI level of the song is kicked up quite significantly in the verse following the mellow nature of the preceding intro (though the “air raid” synth did start to get the intensity up there toward the tail end of the intro).
Vocals
Dan Reynolds provides the perfect example of what a stellar vocal performance can do for a song. Here in the first verse he’s signing with passion, emotion and conviction, bringing the lyrics to life without “overdoing it.” Additionally, he has a very distinct vocal style (reminiscent of Ian Astbury of the Cult) which provides additional power and “coloring” to the section as a whole.
Also notice how the nature of the vocal melody provides great contrast to the “Dubstep synth” and drum pattern, yet at the same time locks in perfectly with the groove. Reference the Vocal Melody section of the report for details.
The highlight of the section, however, is the magic moment “gasp” that occurs at the tail end as previously mentioned. It’s small things like this that can put a song over the top and set it for widespread success.
Backing Music
A lot of songs today incorporate Dubstep elements into the mix solely to capitalize on its popularity, independent of whether or not it really adds something of value to the song (no names will be mentioned here!)
Now, whether or not Imagine Dragons utilized Dubstep to capitalize on what’s currently hot doesn’t really matter. Why, because it works on a very high level and serves the song perfectly. The 2 primary reasons are:
Its “off kilter” nature provides the song with a heightened intensity and “uneasiness” that perfectly jibes with and accentuates the nature of the lyrics.
The nature of the synth coupled with its “off kilter” pattern SOUNDS RADIOACTIVE. It’s electric and powerful, pulsating with radioactive energy.
Next we have the drums. Note the following:
The pattern is very simplistic and dirge like, providing the perfect rhythmic backing for the Dubstep synth and Reynolds’ vocals to shine.
Notice how the muffled kick that’s low/mid level in the mix elicits a dark and foreboding vibe, while the bright electronic snare that’s up front provides a brash electro/modern, semi-industrial nature to the overall soundscape.
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Bottom line – Verse-1
The first verse in Radioactive is a great example of a song that is firing on all cylinders. Considering that it’s just synth, drums and vocals, each one plays an integral role within the mix, and plays it quite well to say the least.
Transition Point – Verse 1 into Pre-Chorus 1: The “gasp” at the end of the first verse followed by the pre-chorus hitting immediately afterward.
Pre-Chorus-1 (0:42 – 0:56)
Vocals & Primary Instrumentation Featured In The Mix:
Synth (Fuzzed “Dubstep” synth – low/mid level in the mix ) Primary around 11:00/12:00
*Electric Guitars (Clean – ample reverb – mid/up in the mix) Spans the entire mix
Drums (Electronic – Dull/lo-fi Kick and Bright Snare . Snare is up-front in the mix, Kick is low to mid) Primary around 12:00
Lead Vocal (Male – Dan Reynolds – Slight reverb and delay – up front in the mix) 12:00
*Indicates a new or changed up instrument in the mix relative to the preceding section
Vibe
Where the verse was more intense, uneasy and raw, the addition of the clean electric guitars into the mix provides the section with a “hopeful, soothing quality” that both exudes beauty yet still possesses some melancholy natured overtones.
Additionally, notice how this perfectly jibes with the nature of the lyrics, although this depends on what your interpretation is. Reference the Storyflow & Meaning section of the report for details.
MTI Level
Here in the pre-chorus we see the MTI level increasing a bit above that of the preceding verse primarily due to the addition of the electric guitars into the mix.
Vocals
The overall nature of Reynolds’ vocal remains pretty much the same here in the pre-chorus as it was during the verse. This is largely due to the fact that the nature of the vocal melody (progression & rhythm) is virtually the same as the preceding verse.
They key difference comes at the tail end of the section. Instead of another “magic moment”
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Backing Music
As was the case with the vocal delivery, the nature of the backing music remained virtually the same in the pre-chorus as it was in the preceding verse with key exception being the addition of the electric guitar into the mix.
Notice how the level of the synth dropped way back, enabling the guitars to come out front and center. This resulted in a change in overall vibe as well as adding additional engagement value for the listener.
Transition Point - Pre-Chorus 1 into Chorus 1: The first line of the chorus “I’m wakin’” actually starts at the tail end of the pre-chorus, overlapping with the last “who-oa” before slamming in full on the lyric “up.“ Additionally notice that there’s a “synth static/scratch” type of effect panned around 3:00 right before the full chorus slams in as well, which accentuates the “radioactive” vibe of the song.
Chorus-1 (0:56 – 1:24)
Vocals & Primary Instrumentation Featured In The Mix:
Synth (Fuzzed “Dubstep” synth – mid/up in the mix ) Primary around 11:00/12:00
*Synth (Clean, higher register, “sci-fi” in nature over the lyrics “welcome to the new age” – mid/up in the mix ) Primary around 12:00
*Synth Effect (“Swooshing/morphing/ radioactive” in nature at the tail end of the section – mid/up in the mix) Spans the entire mix
Electric Guitars (Clean – ample reverb – low/mid level in the mix) Spans the entire mix
*Electric Bass (“Dull” and semi-distorted – mid level in the mix) 12:00
*Drums (Electronic – Dull/lo-fi Kick and Bright Snare . Snare is still up-front in the mix, Kick is further up front than it had been previously) Primary around 12:00
Lead Vocal (Male – multi-tracked – reverb and delay – up front in the mix) Primary around 12:00 but spans the entire mix
*Background Vocal (“whoa-o-oa…” – male – multi-tracked – reverb and delay – up front in the mix) 12:00
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*Indicates a new or changed up instrument in the mix relative to the preceding section
Vibe
To say that the chorus is intense would be an understatement. I think ULTRA-INTENSE is a lot more fitting!
Now, predicated on the notion that you think the lyrics pertain to overcoming depression and or addiction, the lyrical theme in the chorus is all about TRIUMPH – “waking up” and feeling ALIVE TO THE HIGHEST DEGREE (i.e “radioactive”). This is tremendously accentuated via the intense nature of the backing music and especially the vocals.
MTI Level
Here in the chorus is where the overall MTI level explodes through the roof (and the song basically explodes out of the speakers). The overall levels are thrust to the max, bordering on distorting.
The only brief place where the intensity level take a minor dip (and I do mean minor) is during the second “welcome to the new age” where the kick drum is pulled from the mix, so you briefly lose that thundering intensity. What this does is enable the second half of the section to slam in with increased vigor.
Vocals
This is discussed in depth within the Vocal Melody section of the report, but suffice it to say here in the chorus is where the nature of the vocals take the song to an entirely different level. In my opinion the vocals here determined the difference between Radioactive winding up as a really good album cut or a single that has world-wide hit potential (which it has been achieving).
These are the 2 KEY factors that put this section over the top:
Magic Moment #2 As mentioned earlier, it’s that “magic moment” B to B octave jump from the “I’m wakin’ up” lead in (that begins at the tail end of the pre-chorus) into the SOARINGLY INTENSE “I feel it in my bones” that nails you every single time you hear it. Reynolds sings it with such emotion and conviction that it just pierces right through your soul.
The “Double Payoff” The second half of the section contains a “double payoff” for the listener:
First we have the “whoa’s” once again – this time around presented in an infectious manner that is primed for audience participation in a live setting (reference the Vocal Melody section for details).
Second, and most importantly, we have the repetition of the title vocal, which is sung
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twice back to back. Notice how it almost features the same octave jump that provided the first half of the section with so much power and emphasis (it’s B to A this time around on the lyric/syllable “I’m Ra-”).
Backing Music
As was the case with the vocals, here in the chorus we also see the nature of the backing music reach its most intense level within the song. Note the following:
As previously mentioned, the first line of the chorus begins at the tail end of the pre- chorus (“I’m wakin’”). In regard to what’s going on with the backing music at this point, notice that the kick drum, guitars and dubstep synth have all been pulled from the mix. The reason for this is simple – to provide the “wall of sound” that comes thundering in on the lyric “up” with tremendously more impact when it hits.
Speaking of a “wall of sound,” I don’t think that there’s a better term that could describe the nature of the chorus. The Dubstep synth, kick and electric bass guitar provide the section with an exceptionally intense, dense nature, while the bright nature of the snare and vocal pierce through the mix along with the sporadic higher-pitched synth that enters the mix on the lyrics “welcome to the new age.”
Notice what happens at the end of the section when the last 2 “radioactive’s” of the section are sung. All of the backing instrumentation/music that defined the section up until this point are abruptly pulled from the mix, and what we’re left with are these “swooshing,” “morphing” synths that provide a “radioactive” soundscape that accentuates the “radioactive” lyrics. As was the case with the “gasp” earlier within the song, notice that once again an effect is used to “paint the picture” of the lyrical content.
Bottom Line – Chorus
What’s really so amazing about Radioactive’s chorus is that it provides the listener with not 1, not 2, not 3 but 4 ultra-infectious, distinct facets to sink their teeth into:
First: “I’m wakin’ up I feel it in my bones...” (this includes the octave jump “magic moment”).
Second: The repetitive, infectious “welcome to the new age” section.
Third: The sing-along “Whoa-oa-oa…” section which is primed for audience participation in a live environment.
Fourth: The lyrical payoff “I’m radioactive” plus the “radioactive” synth at the tail end.
This is engagement at its best.
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Transition Point – Chorus 1 into Verse 2: Turns on a dime directly following the “radioactive” ending to the chorus.
Verse-2 (1:24 – 1:38)
Vocals & Primary Instrumentation Featured In The Mix:
All that defined verse-1 plus:
Electric Guitars (Clean – ample reverb – mid/up in the mix) Spans the entire mix
Verse 2 possesses virtually the same characteristics as the first verse with the primary difference being (besides the change up in lyrics) the addition of the electric guitar that defined the first pre-chorus of the song. This is effective on a number of key levels:
It provides differentiation between the 2 verse sections of the song considering their otherwise very similar nature .
It keeps the momentum moving along at a more fluid pace coming out of the intense chorus that preceded it. Without the guitar, the section may have come across as being too sparse in nature at this point within the song.
Considering their similar nature, it provides a seamless transition into the second pre- chorus that follows, and sets the section up for its own differential factor as well.
The nature of the electric guitars once again provide a “hopeful, soothing yet semi- melancholy quality” as they did during the first pre-chorus. And again, it jibes with the nature of the lyrics (especially considering that the pre-chorus lyrics are identical in both occurrences within the song).
The one other primary difference in this section relative to the first time around is the omission of a “magic moment,” like another “gasp.” Instead, we have 2 “Katy Perry/Maroon 5? natured “who-oa’s” occurring at the tail end as we had at the conclusion of the first pre-chorus.
Transition Point – Verse 2 into Pre-Chorus 2: 2 “who-oa’s.”
Pre-Chorus-2 (1:38 – 1:52)
Vocals & Primary Instrumentation Featured In The Mix:
All that defined Pre-Chorus-1 plus:
Synth (“Flute natured” – higher register – moderate reverb – mid/up in the mix) Primary around 12:00 but bleeds throughout the mix
Overall, with the exception of the additional synth detailed above that provides a soothing,
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Transition Point – Pre-Chorus 2 into Chorus 2: Same as pre-chorus 1 into chorus 1.
Chorus-2 (1:52 – 2:20)
The second chorus is pretty much identical to the nature of the first chorus within the song except in the manner in which it ends:
The nature of the “swooshing,” “morphing” synth at the tail end is slightly different between the 2 sections.
The second chorus has an extra snare hit during the “swoosh” above. This doesn’t occur during the first chorus section.
Transition Point – Chorus-2 into the Bridge: Turns on a dime.
Bridge (2:20 – 2:34)
Vocals & Primary Instrumentation Featured In The Mix:
Synth (“Flute natured” – higher register – moderate reverb – mid/up in the mix) Primary around 12:00 but bleeds throughout the mix
Synths (multi – shifting and morphing) Envelopes the entire mix
Vibe
I think “tense radioactive serenity” is probably the best way to describe the vibe within the bridge. Keep in mind that the lyrics in this section relate to him realizing that he’s “going to make it” in this post apocalyptic world (reference the Storyflow & Meaning section of the report again for details). The nature of the morphing/shifting synths paint the picture of continued uneasy tension (i.e. he’s going to make it, but it’s going to be tough), but the nature of his vocal coupled with the “flute natured” synth paint the picture of serenity and calmness after the storm.
MTI Level
Considering that the entire section consists of a synth soundscape and vocals (the drums and guitar have been pulled from the mix), the momentum factor of the MTI equation has significantly dropped off.
Notice however that the nature of the synths (with the exception being the serine “flute” synth) provides the section with a simmering intensity and tense nature.
Vocals
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Here we find Reynolds’ exuding a sense of serenity and relief via his vocal delivery that wasn’t present during the other sections of the song (which were significantly more animated and intense – especially during the chorus).
Backing Music
As previously mentioned, the bridge consists solely of synths that create an evocative sonic backdrop for Reynolds’ vocals to shine. They paint a picture in the listener’s head of a post apocalyptic world that is serene after the war that preceded it. What’s really effective is that the nature of those synths (minus the “flute” synth) still exude a “radioactive” vibe, keeping in line with the vibe that defines the entire song. If they reverted back to acoustic guitar (which defined the intro), it wouldn’t have had the same impact in the sense that the overall context of the song would be lost.
Conclusion – Bridge
As was the case with the other sections of the song, here in the bridge we have another perfect example of all the elements (lyrics, vocals, music) coming together and perfectly jibing with one another in eliciting an evocative mood to draw the listener in on a deep, engaging level.
Additionally, notice how the nature of the section provides the perfect “sonic break” for the listener from the extreme intensity that defines the chorus that precedes it as well as follows it.
Transition Point – Bridge into Chorus-3: Seamless transition.
Chorus-3 (2:34 – 3:02)
The third and final chorus slams in with even more perceived impact and intensity due to the serine nature of the bridge that preceded it. All in all, its nature is exactly the same as the preceding 2 chorus occurrences, though the overall levels seem to be pushed even a tad higher, providing the section with subtly increased intensity.
End (3:02)
Directly following the final “radioactive” lyric of the last chorus, Reynolds’ vocal rings out for ~0:02 before coming to a complete conclusion at 3:07. Notice the processing that’s utilized on that 0:02 ring out, providing the song and the listener with a final “radioactive” touch.
Song Title / Lyrics / Harmonic Progression Back to Top
Song Title:
When gauging the effectiveness of a song’s title, there are a number of factors that you need to consider:
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1. Is it unique & clever? 2. Does it stand out? 3. Is it memorable? 4. Does it pique your interest enough to take a listen to the song? 5. How does it work within the lyrical framework of the song?
Is it unique & clever? Does it stand out? In regard to Radioactive being “unique and clever,” as a standalone title without any context I think you would have to agree that the answer is no.
However, once you tie it into the storyline, depending on your interpretation of the song it can come across as being clever. For example, instead of thinking of “radioactive” as pertaining to a nuclear theme (which would be the obvious choice), think of it as becoming “radiant” after overcoming depression or addiction. THEN it jumps from “run of the mill” to clever. It all comes down to the context in which you associate it.
Additionally, regardless if you think it’s clever or not, you would have to agree that Radioactive is a POWERFUL title. It’s an attention grabber. So in that respect, it definitely helps the song stand out within the mainstream pack.
And as a side note, it’s certainly not the first time that “Radioactive” has been used as a successful song title. Kings Of Leon, Rita Ora and The Firm have all used it, just to name a few.
Is it memorable? The title Radioactive is exceptionally memorable for the following reasons:
It’s powerful nature instantly captures your attention & resonates.
It stands out amongst other songs in the mainstream Rock and Pop packs.
It’s common. You’ve heard it many times before, so you don’t have rack your brain trying to think of a word that’s foreign.
It’s short (just 1 word) , so there’s not that much to remember.
Does it pique your interest to take a listen? Even though Radioactive isn’t all that unique and clever as a standalone title, its powerful nature most certainly piques your interest to at least see what the song is all about.
Does it work within the lyrical framework of the song? The storyline is completely structured around the title Radioactive. The verse, pre-chorus and first half of the chorus all build up to this “payoff” lyric that occurs during the second half of the chorus, independent of what your interpretation of “radioactive” may be.
Title Occurrences:
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Radioactive occurs 6 times within the song, twice during the second half of each full chorus section as follows:
Chorus – First Half
I’m wakin’ up, I feel it in my bones Enough to make my systems blow
Welcome to the new age, to the new age Welcome to the new age, to the new age
Chorus – Second Half
Whoa-oa-oa-oa-oh, Whoa-oa-oa-oa I’m radioactive, radioactive
Whoa-oa-oa-oa-oh, Whoa-oa-oa-oa I’m radioactive, radioactive
Note the following:
Notice that “radioactive” is the sole lyrical focal point of the second half of the chorus (“whoa…” is exceptionally engaging, but possesses no lyrical meaning).
It’s the last lyric that you hear within the chorus, enabling it to resonate on a greater level and get engrained within your head.
The repetitive nature in which “radioactive” is used (back to back on the individual line coupled with the entire line repeating twice within the section) further gets it engrained within your head.
Considering that the song ends on the chorus, Radioactive is the very last thing that you hear in the song. Again, this accentuates the memorability factor.
Story Flow & Meaning
Engaging lyrics that are chock full of imagery, action and emotion coupled with a compelling storyline are paramount to bringing a song to life and engaging the listener on a deep level.
Now, considering that you have read Radioactive’s lyrics (and if you haven’t please do so now), you’ve by now noticed that they and their associated overall meaning are quite cryptic to say the least.
Is this story about:
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The apocalypse?
Revolution and a new world order?
Overcoming addiction?
Overcoming depression?
Moving on after a relationship?
All of the above?
None of the above?
This is where Radioactive excels. The lyrics are full of detail and are quite potent, and can pertain to a multitude of topics that the listener can interpret in their own way, enabling the song to resonate and connect on a deep and personal level. That’s the mark of exceptionally effective lyric writing.
Here we’re going to look at Radioactive in the context of relating to overcoming adversity in one’s life, with the focal point being addiction. But as you’ll see it can very easily be applied to seeking help and starting anew after a bout of heavy depression, of which the lead singer Dan Reynolds has openly admitted to.
Additionally, we would love to hear your interpretation of these lyrics! Send us an email to [email protected] with “Radioactive Lyrics” in the subject line.
Verse-1
I’m waking up to ash and dust I wipe my brow and I sweat my rust I’m breathing in the chemicals
Here we see the scene being set where our protagonist wakes up after a heavy drug binge the night before. These drugs can either be illegal (PCP, Coke, etc…) or prescription (i.e. used to overcome depression). It looks like that he might have gone a bit psychotic, destroying everything around him or getting into a fight with someone (i.e. “ash and dust” plus “sweating his rust” which could be interpreted as blood).
Despite all of the devastation that surrounds him, he is STILL medicating (i.e. “breathing in the chemicals”).
Pre-Chorus
I’m breaking in, shaping up, then checking out on the prison bus This is it, the apocalypse
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Following his drug binge where he hit rock bottom but STILL continued to use, he decides to seek treatment in order to start his life anew.
The first phrase pertains to him checking into the treatment facility. Notice how by him saying that he’s “breaking in” that it provides his need for treatment with increased urgency, especially after the binge the previous night. He can’t wait to go through the motions of being admitted. He needs help NOW.
The second phrase, “shaping up,” pertains to him getting the treatment that he needs and rehabilitating himself. Again, this can pertain to him getting clean or getting treated for his depression (or both).
The last phrase on the line, “checking out on the prison bus,” is an interesting one and is quite cryptic. What it sounds like in this scenario is that even though he knew that he needed treatment and got it, the fact that he knows that he can now no longer use makes him feel like he’s going back into society as a prisoner, meaning his freedom to be reckless is gone. Now he has to be like “the clean people,” which for him will feel like a prison.
And on the last line of the section where he states, “this is it, the apocalypse,” he realizes that going back into society as a clean and sober person will seem like a post apocalyptic world. His life as he once knew it is over. “Welcome to the age!”
Chorus
First Half
I’m wakin’ up, I feel it in my bones Enough to make my systems blow
Welcome to the new age, to the new age Welcome to the new age, to the new age
Here we find the protagonist in a post treatment facility setting, most likely in his own home.
He received treatment, is getting better and in the process of getting situated in this post apocalyptic society as a clean, “born again” person (not religiously, but in a “sober” context).
The first half of the chorus relates to him knowing that he has a good chance of making it as a sober or depression free person :
I’m wakin’ up, I feel it in my bones:
In regard to overcoming addiction, he’s coming out of the haze that he was in while
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The fact that he “feels it in his bones” is exceptionally important on 2 levels:
It indicates that he can once again “feel,” which he probably couldn’t while he was using or in the midst of depression.
The statement “feel it in my bones” is a saying that conveys “absolute knowing.” Since he “feels it in his bones,” he KNOWS that he’s “waking up” and getting better.
Enough to make my systems blow:
He’s invigorated with tons of energy and positivity now that he’s on his way to getting clean or depression free. So much so that it’s enough to “make his systems blow.”
Welcome to the new age:
Here he is basically giving himself a pat on the back for getting help. This is conveyed via the fact that he is “welcoming himself” to the new age. He did a great job, and now he’s welcome into this new life (i.e. “new age”) where he’s feeling great and the possibilities are endless. His drug addicted or depression riddled past is behind him.
Second Half
Whoa…I’m radioactive, radioactive Whoa… I’m radioactive, radioactive
Radioactive as defined in the Merriam-Webster Dictionary: : the property possessed by some elements (as uranium) or isotopes (as carbon 14) of spontaneously emitting energetic particles (as electrons or alpha particles) by the disintegration of their atomic nuclei; also : the rays emitted
The second half of the chorus sums up what was established during the first half of the section. Now that his old, drug abusing self has disintegrated and no longer exists (or his depression is fully gone), he is now vibrant, full of life, beaming with energy and ready to live this new life to its fullest potential. In other words, he’s Radioactive ( what a great stringent lyric to hammer the point home!)
Verse-2
I raise my flag, don my clothes It’s a revolution, I suppose We’re painted red to fit right in
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Now that he is back in society, he realizes that the temptation to use will always still be there (or that he can always relapse back into depression). So – he “raises his flag,” meaning that he surrenders. He’s going to do his best not to go back into “battle” with the troubles that defined his “previous life.”
He then “dons his clothes” which gives us the impression that he is ready to go out and face the world as a sober or depression free person. He’s not going remain in bed or stay in his house and hide from the world in a distressed state.
The next line is very powerful. The fact that he equates his struggle to a “revolution” lets us know how intense it is. He’s revolting to get his life back, and it will be an ongoing war. He may win some of the battles, and lose some, but from the sound of it he intends to win the war.
The last line of the section is an interesting one. The fact that for the first time within the song he uses the first person plural (i.e. “WE’RE painted red to fit right in”), has him equating himself to all others who have faced his struggle.
The “painted red” lyrics are quite cryptic, though. Considering that all these people are painted the same color to fit right in can relate to everyone who has had a drug problem or suffered depression being given medication that stabilizes them so that they can function like everyone else in society.
Second Pre-Chorus and Chorus
I’m breaking in, shaping up, then checking out on the prison bus This is it, the apocalypse
I’m wakin’ up, I feel it in my bones Enough to make my systems blow
Welcome to the new age, to the new age Welcome to the new age, to the new age
Whoa…I’m radioactive, radioactive Whoa… I’m radioactive, radioactive
The fact that the same lyrics that defined the first pre-chorus and chorus make a second appearance in the song after he seemed to get better after the first verse, first pre-chorus and first chorus lets us know that his struggle continues. He relapsed or got depressed once again, sought help, and then got better.
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Bridge
All systems go, the sun hasn’t died Deep in my bones, straight from inside
Here he realizes that the fact that he sought help to overcome his addiction or depression and live life as a sober person didn’t mean the end of the world. Through his struggle (i.e. his “revolution”) he was able to persevere, and the result is “all systems go,” meaning that HE CAN DO THIS.
This fact is reiterated on the last line of the section, where he realizes it with conviction (i.e. “deep in his bones, straight from inside”).
Additionally, notice that this is the second time within the song where he references “feeling it within his bones.” Remember, it was also utilized in conjunction with him “waking up” in the chorus, meaning that he knows he’s getting better. The fact that it’s used once again in the bridge tied in with lyrics “all systems go” lets us know that despite maybe relapsing here and there, in the end HE IS GOING TO MAKE IT.
Lyrics / Harmonic Progression / Word & Syllable Count:
Key (*): Indicates a chord that occurs before the beginning of the line (**): Indicates a chord that occurs on the rest preceding the highlighted lyric Blue Font On Lyric: Indicates where the chord change takes place (Parethesis): Indicates a chord that carries over from the previous line
INTRO
Bm7 (add4) – D6/9 – A6/9sus (3 words / 3 syllables) Whoa – Oh – Oh
Bm7 (add4) – D6/9 – A6/9sus (3 words / 3 syllables) Whoa – Oh – Oh
Bm7 (add4) – D6/9 – A6/9sus (3 words / 3 syllables) Whoa - Oh – Oh
Bm7 (1 word / 1 syllable) Oh
VERSE-1
N.C. (7 words / 8 syllables) I’m waking up to ash and dust
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N.C. (9 words / 9 syllables) I wipe my brow and I sweat my rust
N.C. (5 words / 8 syllables) I’m breathing in the chemicals
PRE-CHORUS-1
*Bm – D – A – E5 (13 words / 17 syllables) I’m breaking in, and shaping up, then checking out on the prison bus
*Bm – D – A (5 words / 8 syllables) This is it, the apocalypse
N.C. (1 word / 2 syllables) Who-oa
CHORUS
Bm – D (9 words / 10 syllables) I’m wakin’ up, I feel it in my bones
A – E5 (6 words / 8 syllables) Enough to make my systems blow
Bm – **D (5 words / 5 syllables) Welcome to the new age, to the new age
A – **E/G# (9 words / 10 syllables) Welcome to the new age, to the new age
*Bm – **D (2 words / 9 syllables) Whoa-oa-oa-oa-oh, Whoa-oa-oa-oa
**A – **E5 (5 words / 5 syllables) I’m radioactive, radioactive
*Bm – **D (5 words / 5 syllables) Whoa-oa-oa-oa-oh, Whoa-oa-oa-oa
*A – **E5 (3 words / 11 syllables) I’m radioactive, radioactive
VERSE-2
*Bm – D – A (8 words / 8 syllables)
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I raise my flags and don my clothes
(A) – E5 (5 words / 9 syllables) It’s a revolution, I suppose
*Bm – D – A (7 words / 8 syllables) We’re painted red to fit right in
(E5) (1 words / 2 syllables) Who-oa
BRIDGE
N.C. (7 words / 9 syllables) All systems go, the sun hasn’t died
N.C. (7 words / 8 syllables) Deep in my bones, straight from inside
LYRIC TYPES This section highlights the types of lyrics and phrases used throughout each section of the song. Notice that some of the lyrics and phrases appear in more than one category.
Imagery, Detail, Place & Time Based Lyrics & Phrases: (These lyrics “paint a picture” in your head, describe what’s happening and establish the place and time within the story)
Verse 1
I’m waking up to ash and dust
I wipe my brow and I sweat my rust
I’m breathing in the chemicals
Verse 2
I raise my flag, don my clothes
We’re painted red to fit right in
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Pre-Chorus
I’m breaking in, shaping up, then checking out on the prison bus
This is it, the apocalypse (Event/Time)
Chorus
I’m waking up, I feel it in my bones
Welcome to the new age
Bridge
All systems go, the sun hasn’t died
Deep in my bones, straight from inside
Emotional/State Of Mind Based Lyrics and Phrases: (These lyrics and phrases shed light on the character’s state of mind and convey emotion –either directly or indirectly- enabling you to connect with what the characters are feeling or going through on an emotional level within the story)
Even though the protagonist never really directly states that he’s happy, sad, angry, etc…, the nature of the descriptive lyrics and associated actions paint an evocative picture of what the character is going through and how he feels. Let’s look at verse-1 and the pre-chorus as examples:
Verse-1
I’m waking up to ash and dust
I wipe my brow and I sweat my rust
I’m breathing in the chemicals
It’s easy to tell from these lyrics that the protagonist is NOT in a good place. He doesn’t have to directly say it – the descriptive lyrics paint the picture for us.
Pre-Chorus
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I’m breakin’ in, shaping up, then checking out on the prison bus
This is it, the apocalypse
Again, lyrics like “prison bus” and “apocalypse” paint the emotional picture of what the protagonist is feeling in your mind.
Chorus
I’m wakin’ up, I feel it in my bones, enough to make my systems blow
Welcome to the new age, to the new age…
Going on the premise that these lyrics relate to someone overcoming addiction or depression, these lyrics relate to the positivity of “coming back to life” after being in the depths of depression or addiction as was detailed in the first verse. Notice that this concept is accentuated via the nature of the animated, powerful vocal delivery.
Action Based Lyrics & Phrases: (These lyrics get you into what the characters within the story have done, are doing or will do)
Verse 1
I’m waking up to ash and dust
I wipe my brow and I sweat my rust
I’m breathing in the chemicals
Verse 2
I raise my flags, don my clothes
Pre-Chorus
I’m breaking in, shaping up, then checking out on the prison bus
Chorus
I’m waking up, I feel it in my bones
Enough to make my systems blow (possible future action)
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Bridge
None
Character/Person Based Lyrics & Phrases (Including Pronouns): (These lyrics show how all of the characters within the story are defined)
Red Font: 1st Person Blue Font: 2nd Person Green Font: 3rd Person Bold Black: Specific person or group
Notice that the entire song is conveyed in the first person (I, I’m, my) , with the exception being the first person plural in the second verse (we’re).
VERSE-1
I’m waking up to ash and dust I wipe my brow and I sweat my rust I’m breathing in the chemicals
PRE-CHORUS
I’m breaking in, shaping up, then checking out on the prison bus This is it, the apocalypse Whoa
CHORUS
I’m wakin’ up, I feel it in my bones Enough to make my systems blow Welcome to the new age, to the new age Welcome to the new age, to the new age
Whoa-oa-oa-oa-oh, Whoa-oa-oa-oa I’m radioactive, radioactive Whoa-oa-oa-oa-oh, Whoa-oa-oa-oa I’m radioactive, radioactive
VERSE-2
I raise my flags, don my clothes It’s a revolution, I suppose We’re painted red to fit right in
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Whoa
BRIDGE
All systems go, the sun hasn’t died Deep in my bones, straight from inside
Rhyming Lyrics The highlighted lyric indicates the “rhymer.” In some cases it’s a full lyric, and in other cases it may be just one letter or a syllable.
Verse 1
The last lyric on lines 1 and 2: dust, rust
Verse 2
The last lyric on lines 1 and 2: clothes, suppose
Notice the similar nature between verses 1 and 2. The first 2 lines rhyme, while the third (and last) line of each section provides a departure.
Pre-Chorus
The “ing” commonality of line 1: breaking, shaping, checking
Additionally on line 1: up and bus
Chorus
The last lyric on lines 1 and 2: bones, blow
Additionally, notice that the last 2 lines of the first half of the section (“welcome to the new age”) are repetitive both in each individual line (i.e. “to the new age”) as well as with each other as a whole.
This is also the case with the entire second half of the section as well.
Bridge
The last lyric of the first phrase on lines 1 and 2: go, bones
The last lyric of the second phrase on lines 1 and 2: died, inside
The Vocal Melody Back to Top
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In addition to strong, effective lyrics and evocative backing music, what really hooks the listener into a song is an infectious, engaging and memorable vocal melody delivered in compelling manner.
As you’ll see, Radioactive more than succeeds on this front, combining an “intense Rock natured” emotional delivery from Reynolds with craft fundamentals that are indicative of most chart-topping Pop hits to create a melodic presence that connects with the listener on a deep, engaging and memorable level.
What follows are the 3 primary components that you’ll see from section to section which makes the vocal melody so infectious, engaging and memorable:
Short Phrases / Segmenting
Enables the melody to easily connect and get engrained within the listener’s head (i.e. the “phone number” method).
Simplicity (K.I.S.S.)
For the most part the vocal melody is on the simplistic side (i.e. it’s not overly “artsy,” which would make it tough to remember and sing).
Repetition
Various methods of repetition were utilized within the vocal melody throughout the song to get it engrained within the listener’s head including:
In-line Repetition: Progressions and or rhythms on certain lines repeat in the same exact manner within a section (e.g. “whoa-oa-oa-oa-oh,” “whoa-oa-oa-oa-I’m” during the second half of the chorus).
In-Section (“Grouping”) Repetition: Back-to-back lines in a section that make up one complete vocal progression “group” that then repeat in pretty much the same manner (e.g. “Whoa-oa…I’m radioactive” repeats twice in the same exact manner in each chorus
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occurrence within the song).
Cross-Sectional Repetition: Full sections repeat in the same, or close to the same manner.
Rhythmic Repetition: The same rhythms are utilized on different lines within a section despite differences in their progressions.
Diversifiers & Color Adders: Specific phrases, lyrics or even syllables that worked to increase the infectious nature of a section as well as break up the monotony of the repetition.
The “Whoa” Factor
One thing that you’ll notice throughout the song is the ample use of the lyric “whoa.” This is one of the key factors that provided this Indie/Alt Rock song with a Pop nature that helped it to resonate on such a wide scale. Before we get into the full vocal melody analysis, let’s look at how “whoa” was utilized throughout the song in its various manifestations:
“Whoa” occurs in every section of the song except for the first verse and the bridge.
Intro: Whoa-o-oh, Whoa-o-oh, Whoa-o-oh, Oh
This is the prolonged “whoa” that defines the entire intro.
It follows a B – C – A progression and utilizes Dotted Whole – Half – Whole timing.
It occurs 3 times back to back and concludes on a partial prolonged “oh.”
Verse-2: Wh-o-oa, Wh-o-oa
This is more of a straight-up Pop styled “whoa” that you’ll find in a song like Katy Perry’s The One That Got Away.
It follows a E – C – B progression and utilizes Eighth – Eighth – Eighth timing.
It occurs twice back to back at the end of the section. Note that this only occurs in the second verse. The first verse instead features the “gasp.”
Pre-Chorus: Wh-o-oa, Wh-o-oa
This is a carbon copy of the “whoa” that appears in verse-2 as detailed above. Note that this occurs in both pre-chorus occurrences within the song.
It follows a E – C – B progression and utilizes Eighth – Eighth – Eighth timing
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It occurs twice back to back at the end of the section. Notice that the level of the second occurrence is way below that of the first due to the fact that the first line of the chorus overlaps with it (and that particular line needs to be front and center).
Second Half Of the Chorus: Whoa-oa-oa-oa-oh, Whoa-oa-oa-oa-I’m
This is the most “artsy” of the “whoa’s” and sets up the payoff lyric “radioactive” in the second half of the chorus.
It follows an F – E – D – E – B progression and utilizes Eighth – Eighth – Eighth – Quarter – Quarter timing.
It occurs twice back to back preceding the payoff title lyric “radioactive.”
Notice that the first time around it ends on “oh.” The second time around, however, “oh” is substituted for the lyric “I’m,” which is the first lyric in the “I’m radioactive” segment of the chorus. Quite clever.
So as you can see, “whoa” was utilized quite a bit throughout the song. And even though “whoa” has no particular lyrical significance, its Pop nature coupled with the singability/audience participation factor that it elicits helps to take the commercial viability of the song to the next level all the while maintaining its intense Indie/Alt Rock roots.
GRAPHICAL KEY
Blue Line: Lead Vocal Melody Red Diamond: Rest Black Diamond: Half & Dotted Half Blue Diamond: Quarter & Dotted Quarter Green Diamond: Eighth & Dotted Eighth Yellow Diamond: Sixteenth Note Sharps: F#, C# Red Highlighted Note (F): Indicates a lyric or syllable sung an octave below the one that follows
INTRO
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Line Reference
Line 1: Whoa – o – oh Line 2: Whoa – o – oh Line 3: Whoa – o – oh Line 4: Oh
Vocal Range
High: C Low: F
Vocal Melody Structure
Line 1 – Segment 1: Whoa-o-oh
Word/Syllable Count: 1 word, 3 syllables
Progression: B – C – A
Rhythm: Dotted Whole – Half – Whole
Segmenting Method: Whole Rest
Line 2 – Segment 1: Whoa-o-oh
Word/Syllable Count: 1 word, 3 syllables
Progression: B – C – A
Rhythm: Dotted Whole – Half – Whole
Segmenting Method: Whole Rest
Line 3 – Segment 1: Whoa-o-oh
Word/Syllable Count: 1 word, 3 syllables
Progression: B – C – A
Rhythm: Held for 3 Whole Notes
Segmenting Method: Whole Rest
Line 4 – Segment 1: Oh
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Word/Syllable Count: 1 word, 1 syllable
Progression: F – F – F – E
Rhythm: Eighth – Quarter – Eighth – Dotted Quarter
Segmenting Method: Whole Rest
Radioactive kicks off with a very simplistic, infectious and memorable vocal melody during the intro of the song. Note the following:
As previously mentioned, this is the first of the many “whoa’s” that are a reoccurring theme throughout the song (with changed up rhythms and progressions).
There are 3 “whoa-o-oh’s” that occur throughout the section which are identical in nature from both a progression and rhythmic standpoint.
Each follows a simplistic B – C – A progression and utilizes Dotted Whole – Half – Whole timing.
Each are segmented from one another via Whole Rest. This gives the listener time to process each one, accentuating the memorability and engagement factor.
Notice how the nature of the vocal works in perfect unison with the nature of the backing music in creating the mellow, slightly dark and somber atmosphere.
The section ends on a final prolonged “oh” which is a B note and held for 3 whole notes.
VERSE-1
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Line Reference
Line 1: I’m waking up to ash and dust Line 2: I wipe my brow and I sweat my rust Line 3: I’m breathing in the chemicals Line 4: The “gasping” sound (not depicted in the graphs above)
Vocal Range
High: F Low: F
Vocal Melody Structure
Line 1 – Segment 1: I’m wak-ing up
Word/Syllable Count: 3 words, 4 syllables
Progression: F – F – F – E
Rhythm: Eighth – Quarter – Eighth – Dotted Quarter
Segmenting Method: Eighth Rest
Line 1 – Segment 2: to ash and dust
Word/Syllable Count: 4 words, 4 syllables
Progression: A – F – F – E
Rhythm: Eighth – Quarter – Eighth – Dotted Quarter
Segmenting Method: Eighth-Rest
Line 2 – Segment 1: I wipe my brow and I sweat my rust
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Word/Syllable Count: 9 words, 9 syllables
Progression: C – C – C – D – D – C – D – C – B
Rhythm: Eighth – Quarter – Quarter – Eighth – Eighth – Quarter – Quarter – Quarter – Quarter
Segmenting Method: Eighth Rest
Line 3 – Segment 1: I’m breath-ing in
Word/Syllable Count: 3 words, 4 syllables
Progression: F – F – F – E
Rhythm: Eighth – Quarter – Eighth – Dotted Quarter
Segmenting Method: Eighth-Rest
Line 3 – Segment 2: the chem-i-cals
Word/Syllable Count: 2 words, 4 syllables
Progression: A – A – A – A
Rhythm: Eighth – Eighth – Eighth – Half
Segmenting Method: Dotted Half Rest
Segment Flow Recap (Short vs. Longer)
Short – Short – Longer – Short – Short
As you’ve seen above, the first verse of Radioactive is comprised of 5 individual segments that traverse 3 lines (plus the “gasp” that we’ll consider to be line 4). Let’s now take a look at what made the first verse so infectious, engaging and memorable:
Line 1: “I’m waking up, to ash and dust“
The 2 segments that comprise line 1 are virtually carbon copies of one another from a vocal melody standpoint with 1 minor difference. Note the following:
Notice that the 2 segments on line 1 (“I’m waking up, to ash and dust”) are very short in nature, each comprising just 4 syllables. This makes it very easy for the listener to absorb and remember (i.e. it’s not a mouthful).
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Notice that both segments on line 1 follow virtually the same progression and utilize the same timing. The only difference is that segment 2 starts on an A as opposed to an F which was the case in the first segment. It’s this repetition that helps to get the melody completely engrained within the listener’s head:
Segment 1, Line 1: F – F – F – E (Eighth – Quarter – Eighth – Dotted Quarter)
Segment 2, Line 1: A – F – F – E (Eighth – Quarter – Eighth – Dotted Quarter)
Additionally, notice that even though it goes by in a blink of an eye (i.e. an eighth note) that the initial F to F and A to F jump that kicks off both segments provides increased “color” to the vocal melody and enhances the engagement factor for the listener.
Also notice that the change to A as opposed to F the second time around was also very useful in adding some subtle diversity that prevented both segments from being carbon copies of one another. Remember, differentiation is imperative to some degree to prevent the repetitive nature of a song from becoming overly monotonous.
Line 2: “I wipe my brow and I sweat my rust“
The first thing that you’ll notice about line 2 is that it’s completely different in nature than the 2 preceding segments that defined line 1:
It’s longer (9 syllables vs. 4)
It’s possesses a different rhythm
It follows a completely different progression and does not possess that initial “jump” that kicked off segments 1 and 2 in the preceding verse (i.e. the octave F to F jump in segment 1 and the A to F jump in segment 2). Instead, it’s more “linear” in nature as a whole, just fluctuating between C and D except at the tail end.
Additional points to note regarding line 2:
It provides necessary diversity from the repetitive nature that defined the first line of the section.
Notice how it deviates from the “linear – linear – DOWN” progression that defined the 2 segments on line 1 (i.e. F – F – E). Instead, it provides contrast by going “linear – linear – linear – UP“ (i.e. C – C – C – D) before going into an “up – down – up – down – down” progression to conclude the line (i.e. D – C – D – C – B).
The downward progression via D – C – B coupled with the change-over to quarter note delivery on the lyrics “sweat my rust” does a great job of bringing the stanza to a conclusion. Remember, the nature of the progression that defined the first line was more “cliffhanger” in nature. Line 2 brings it all to a conclusion.
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Line 3: “I’m breathing in the chemicals“
First, notice that line 3 starts off in the same exact manner as line 1, possessing the same progression and rhythm on the lyrics “I’m breath-ing in” (F – F – F – E / Eighth – Quarter – Eighth – Dotted Quarter). This does a great job of reinforcing the memorabiltiy factor of the section following the departure that occurred on line 2.
What follows is another departure. Instead of repeating the progression and rhythm as was the case on line 1, the balance of the line (“the chem-i-cals”) drops down to A and remains there for a monotone natured eighth note delivery. Notice how the nature of the delivery coupled with the lyrics perfectly sets up the “magic moment” that follows (i.e. the “gasp”).
Line 4: The “Gasp”
As you’ve by now noticed, the first verse of the song consists three-quarters of lyrics, and one- quarter of that “magic moment” gasp of air in followed by the exhale. Note the following:
The gasp is completely unexpected the first time that you hear the song. It catches you off-guard because you’ve been conditioned to expect another full lyric stanza as was the case on lines 1 and 2.
It takes the engagement factor of the section, and the song for that matter, to the next level. If you were expecting the song to “just go through the motions” like most other songs do, this segment of the verse definitely woke you up and grabbed your attention.
Notice how this segment was perfectly set up by and jibes with the nature of the lyrics that preceded it, “I’m breathing in the chemicals.” So, not only do the lyrics convey the action of what’s going on, but the gasping inhale/exhale that follows paints the picture and enables the listener to “live it.”
Memorability Factors
Repetition & Diversifiers
Notice how there is just the right balance of repetition and diversification within the section to make for an engaging, infectious and most of all memorable listening experience:
Segments 1 & 2 on the first line as well as segment 1 and the third line all follow virtually the same progression and utilize the same timing.
The second segment on line 3 (“the chem-i-cals”) has each syllable as an A and utilizes the same timing (eighth-notes).
Line 2 and as well as the second segment on the third line provide the diversification, both in the nature of the progression as well as the rhythm.
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Short Phrases / Segmenting
With the exception of the third segment (which contains 9 words and 9 syllables), all of the other segments are quite short in nature, containing 4 syllables and 4 words or less.
Each segment is segmented from one another by an eighth rest, which gives the listener a split second to process and absorb the preceding phrase.
K.I.S.S.
Notice the overall simplicity of the vocal melody within the first verse, which makes it both easy to remember and sing:
Aside from the “jump” from the first to second lyric, both segments on line 1 as well as the first segment on line 3 reside in E and F.
Line 2 fluctuates between C and D, with the exception occurring at the tail end (the drop down to B).
The second segment on line 3 resides completely in A.
VERSE-2
Line Reference
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Line 1: I raise my flag and don my clothes Line 2: It’s a revolution I suppose Line 3: We’re painted red to fit right in Line 4: Whoa, whoa
Vocal Range
High: G Low: G
Vocal Melody Structure
Line 1 – Segment 1: I raise my flag
Word/Syllable Count: 4 words, 4 syllables
Progression: F – F – F -E
Rhythm: Eighth – Quarter – Eighth – Dotted Quarter
Segmenting Method: Eighth Rest
Line 1 – Segment 2: and don my clothes
Word/Syllable Count: 4 words, 4 syllables
Progression: A – F – F – E
Rhythm: Eighth – Quarter – Eighth – Dotted Quarter
Segmenting Method: Eighth-Rest
Line 2 – Segment 1: It’s a rev-o-lu-tion I sup-pose
Word/Syllable Count: 5 words, 9 syllables
Progression: C – C – C – D – D – C – D – C – B
Rhythm: Eighth – Eighth – Eighth – Eighth – Quarter – Quarter – Quarter – Quarter – Quarter
Segmenting Method: Eighth Rest
Line 3 – Segment 1: We’re paint-ed red
3 words, 4 syllables
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Progression: F – F – F – E
Rhythm: Eighth – Quarter – Eighth – Dotted Quarter
Segmenting method: Eighth-Rest
Line 3 – Segment 2: to fit right in
Word/Syllable Count: 4 words, 4 syllables
Progression: A – A – A – A
Rhythm: Eighth – Eighth – Eighth – Half
Segmenting Method: Dotted Half Rest
Line 4 – Segments 1 & 2: Who-oa, who-oa
Word/Syllable Count: 2 words, 4 syllables
Progression: E – C – B, E – C – B
Rhythm: Eighth – Eighth – Eighth / (Eighth Rest) / Eighth – Eighth – Eighth
Segmenting Method: Whole Rest
Segment Flow Recap (Short vs. Longer)
Short – Short – Longer – Short – Short – Short
As you can see, for the most part the nature of the vocal melody that defines the second verse of the song is extremely similar to the first verse. The following are the key similarities and differences between the two (in addition to the lyrical content):
Similarities to Verse-1
The progression and rhythm that defines line 1 in both verse sections are identical
Verse-1, line 1: I’m wak-ing up, to ash and dust
Verse-2, line 1: I raise my flag, and don my clothes
The progression and rhythm that defines line 3 in both verse sections are identical
Verse-1, line 3: I’m breath-ing in, the chem-i-cals
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Verse-2, line 3: We’re paint-ed red, to fit right in
Differences to Verse-1
Line 2:
Verse-1, line 2: I wipe my brow and I sweat my rust
Verse-2, line 2: It’s a rev-o-lu-tion I sup-pose
Notice that the progression is the same between the 2 sections, but it’s the nature of the rhythm that differs:
Verse-1, line 2: Eighth – Quarter – Quarter – Eighth – Eighth - Quarter – Quarter – Quarter – Quarter
Verse-2, line 2: Eighth – Eighth – Eighth – Eighth – Quarter - Quarter – Quarter – Quarter – Quarter
As you can see, it’s the first part of both lines that differ from a rhythmic standpoint, but both lines conclude with the same rhythm via 4 quarter notes.
Line 4:
Instead of the “gasp” that followed “I’m breathing in the chemicals” on line 3 in the first verse, the second verse instead ops for the 2 “Katy Perry” natured “who-oa’s” to conclude the section (e.g. listen to The One That Got Away or Wide Awake and you’ll hear them sung in practically the same manner). And speaking of Katy Perry, notice how those “who-oa’s” provide the section, and the song with more of a “mainstream Pop” nature.
Conclusion – Verses
So as you can see, both verse sections are very similar in nature to one another, and as you know repetition plays a primary role in taking the memorability factor to the next level. The differences, however, prevented the song from becoming overly predictable, and the “who- oa’s” did a great job of putting an infectious Pop spin on a primarily dark natured Rock song.
PRE-CHORUS
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Line Reference
Line 1: I’m breaking in, and shaping up Line 2: then checking out on the prison bus Line 3: This is it, the apocalypse Line 4: Who-oa, Who-oa
Vocal Range
High: F Low: E
Vocal Melody Structure
Line 1 – Segment 1: I’m break-ing in
Word/Syllable Count: 3 words, 4 syllables
Progression: F – F – F -E
Rhythm: Eighth – Quarter – Eighth – Dotted Quarter
Segmenting Method: Eighth Rest
Line 1 – Segment 2: and shap-ing up
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Word/Syllable Count: 3 words, 4 syllables
Progression: A – F – F – E
Rhythm: Eighth – Quarter – Eighth – Dotted Quarter
Segmenting Method: Eighth-Rest
Line 2 – Segment 1: then check-ing out on the pris-on bus
Word/Syllable Count: 7 words, 9 syllables
Progression: A – C – C – D – C – C – D – B – B
Rhythm: Eighth – Eighth – Quarter – Quarter – Eighth – Eighth – Eighth – Eighth – Quarter
Segmenting Method: Half Rest
Line 3 – Segment 1: This is it
Word/Syllable Count: 3 words, 3 syllables
Progression: F – F – E
Rhythm: Eighth – Quarter – Dotted Quarter
Segmenting Method: Dotted Quarter on the last lyric coupled with the drop from E to A
Line 3 – Segment 2: the a-poc-a-lypse
Word/Syllable Count: 2 words, 5 syllables
Progression: A – A – A – A – A
Rhythm: Eighth – Eighth – Quarter – Eighth – Dotted Quarter
Segmenting Method: Dotted Quarter Rest
Line 4 – Segments 1 & 2: Who-oa, who-oa
Word/Syllable Count: 2 words, 4 syllables
Progression: E – C – B, E – C – B
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Rhythm: Eighth – Eighth – Eighth / (Eighth Rest) / Eighth – Eighth – Eighth
Segmenting Method: None – the first line of the chorus begins on the second “who- oa.”
Segment Flow Recap (Short vs. Longer)
Short – Short - Longer – Short – Short – Short
As discussed in the Music/Instrumentation & Vocal section of the report, you can look at this section either as a pre-chorus OR a verse.
Some may consider it a verse because the vocal melody possesses many of the same characteristics that defined verses 1 and 2.
On the other hand, musically it does differ slightly from the preceding section (i.e. verse 1 and 2) coupled with the fact that the lyrics provide a solid lead-in to the chorus. And, don’t forget that the lyrics repeat in the same exact manner during both pre-chorus occurrences within the song.
So, for purposes of this report we’re looking at this section as a pre-chorus. Let’s now see what the pre-chorus vocal melody has in common with the preceding verse sections as well as how it differs (and remember, the pre-chorus vocal melody repeats in the same exact manner both times around):
Similarities & Differences to the Verse
Notice that the general flow of the progression throughout the entire section is exceptionally similar to both verse sections, especially verse-2 (due to the “whoa’s”):
Repetitive segments 1 and 2 on the first line
Departure on the second line
Repetitive segment 1 to kick off the third line (i.e. almost identical to segments 1 and 2 on the first line)
Departure on segment 2 of the third line
2 “who-oa’s” to conclude (as was the case in the second verse)
Now, let’s look at individual lines and segments:
Segments 1 & 2 (First Line), Segment 1 (Third Line)
Segments 1 &2 (First Line)
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First Verse: I’m wak-ing up, to ash and dust
Second Verse: I raise my flag, and don my clothes
Pre-Chorus: I’m break-ing in, and shap-ing up
Segment 1 (Third Line)
First Verse: I’m breath-ing in
Second Verse: We’re paint-ed red
Pre-Chorus: This is it
Segments 1 and 2 on the first line of the pre-chorus are identical from a progression and rhythmic standpoint to those segments in verses 1 and 2.
Segment 1 on the third line of the pre-chorus is similar as well except for the fact that the initial jump from F to F is omitted, but then follows the F – F – E progression. The timing differs as well, utilizing an Eighth – Quarter – Dotted Quarter rhythm as opposed to Eighth – Quarter – Eighth – Dotted Quarter.
Line 2
First Verse: I wipe my brow and I sweat my rust
Second Verse: It’s a rev-o-lu-tion I sup-pose
Pre-Chorus: then check-ing out on the pris-on bus
The second line differs both from a progression and rhythmic standpoint:
Progression
First & Second Verse: C – C – C – D – D – C – D – C – B
Pre-Chorus: A – C – C – D – C – C – D – B – B
Despite the nature of the progression, notice for the most part that all of these sections have the second line residing primarily in C and D, which keeps the “familiarity” factor intact.
Rhythm
First Verse: Eighth – Quarter – Quarter – Eighth – Eighth – Quarter – Quarter – Quarter – Quarter
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Second Verse: Eighth – Eighth – Eighth – Eighth – Quarter – Quarter – Quarter – Quarter – Quarter
Pre-Chorus: Eighth – Eighth – Quarter – Dotted Quarter – Eighth – Eighth – Eighth – Eighth – Quarter
As you can see, the nature of the rhythm on the second line varies between the first verse, second verse and the pre-chorus.
Line 3, Second Segment
First Verse: the chem-i-cals
Second Verse: to fit right in
Pre-Chorus: the a-poc-a-lypse
All of the above are sung with a monotone A delivery, and verses 1 and 2 also utilize the same rhythm as well (eighth – eighth – eighth – half).
The difference between the pre-chorus and the 2 aforementioned sections is the following:
The pre-chorus contains 5 syllables as opposed to 4 (as is the case in verses 1 and 2), so there is an additional A.
The rhythm in the pre-chorus is Eighth – Eighth – Quarter – Eighth – Dotted Quarter. So the key difference is that quarter note as opposed to an eighth that provides a slightly prolonged nature to “the a-poc-a-lypse.”
Line 4
First Verse: “Gasp”
Second Verse: Who-oa, who-oa
Pre-Chorus: Who-oa, who-oa
Beside the “gasp” that occurs in verse 1, verse 2 and the pre-chorus end in the exact same manner, utilizing the same lyrics, progression and rhythm.
Conclusion
Overall you can see that the nature of the pre-chorus is very similar to that of the verses, but different just enough (including some changes to the music as discussed earlier within the report) that keeps these back-to-back sections from becoming overly monotonous while maintaining the engagement value for the listener.
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CHORUS
As previously discussed in the Music/Vocal/Instrumentation section of the report, Radioactive’s chorus is split into 2 halves, each possessing its own distinct vocal melody nature:
1st Half
I’m wakin’ up, I feel it in my bones Enough to make my systems blow Welcome to the new age, to the new age Welcome to the new age, to the new age
Second Half
Whoa-oa-oa-oa-oh, Whoa-oa-oa-oa I’m radioactive, radioactive
1st Half of the Chorus
Line Reference
Line 1: I’m wakin’ up, I feel it in my bones Line 2: Enough to make my systems blow
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Line 3: Welcome to the new age, to the new age Line 4: Welcome to the new age, to the new age
Vocal Range
High: B Low: A
Vocal Melody Structure
Group 1 (Lines 1 & 2)
Line 1 – Segment 1: I’m wak-in’ up
Word/Syllable Count: 3 words, 4 syllables
Progression: B – B – B – B
Rhythm: Quarter – Quarter – Quarter – Quarter
Segmenting Method: Octave jump (no rest)
Line 1 – Segment 2: I feel it in my bones
Word/Syllable Count: 6 words, 6 syllables
Progression: B – B – B – A – A – F
Rhythm: Quarter – Quarter – Quarter – Quarter – Quarter – Quarter
Segmenting Method: Low volume “e” in “e-nough” that follows provides a quarter-rest feel coupled with the drop down to A
Line 2 – Segment 1: E-nough
Word/Syllable Count: 1 word, 2 syllables
Progression: A – A
Rhythm: Quarter – Quarter
Segmenting Method: Octave jump (no rest)
Line 2 – Segment 2: to make my sys-tems blow
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Word/Syllable Count: 5 words, 6 syllables
Progression: A – A – A – G – G – E
Rhythm: Quarter – Quarter – Quarter – Quarter – Quarter – Quarter
Segmenting Method: Quarter Rest
Segment Flow Recap – Group 1 (Short vs. Longer)
Short – Longer - Short - Longer
Group 2 (Lines 3 & 4)
Line 3 – Segment 1: Wel-come to the new age
Word/Syllable Count: 5 words, 6 syllables
Progression: F – E – F – E – F – B
Rhythm: Eighth – Eighth – Eighth – Eighth – Quarter – Quarter
Segmenting Method: Quarter Rest
Line 3 – Segment 2: to the new age
Word/Syllable Count: 4 words, 4 syllables
Progression: F – E – F – B
Rhythm: Eighth – Eighth – Quarter – Quarter
Segmenting method: Quarter note
Line 3 – Segment 3: Wel-come to the new age
Word/Syllable Count: 5 words, 6 syllables
Progression: F – E – F – E – F – B
Rhythm: Eighth – Eighth – Eighth – Eighth – Quarter – Quarter
Segmenting method: Quarter Rest
Line 3 – Segment 4: to the new age
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Word/Syllable Count: 4 words, 4 syllables
Progression: F – E – F – B
Rhythm: Eighth – Eighth – Quarter – Quarter
Segmenting Method: Quarter note
Segment Flow Recap – Group 2 (Short vs. Longer)
Longer - Short – Longer – Short
Group 1 (Lines 1 & 2)
The nature of these lines can be summed up in just 2 words – POWER & INTENSITY.
Line 1: “I’m wakin’ up I feel it in my bones”
Directly following the “who-oa, who-oa” vocal that concluded the pre-chorus, the first segment of the first line of the chorus (“I’m wakin’ up”) kicks off with an equally non-intense delivery via monotone B quarter notes.
What follows in the second segment, however, is the song defining “magic moment” that takes Radioactive from being really good to pretty amazing. This “magic moment” was achieved via the octave B to B jump from segment 1 into the first part of segment 2 (“I feel it”). Notice how this coupled with the nature of the vocal delivery and backing music takes the intensity of the song through the roof, perfectly jibing with and accentuating the triumphant nature of the lyrics.
Additionally, what makes it so powerful and effective is the fact that the octave jump catches you off guard. Following the pre-chorus you’re still in first-gear with the monotone lead in to the chorus. And then all of a sudden, BOOM – you’re slammed with a wall of intensity on all levels. This is exceptionally effective when you hear the song for the first time, but it also has the same effect and impact with each subsequent listen.
Directly following the monotone B delivery of “I feel it,” the balance of the line then follows with an A – A – F progression to conclude, staying in the higher register to keep the intensity up there.
Line 2: “enough to make my systems blow”
After the soaring, powerful nature that defined the second segment of line 1, the same melodic pattern and intensity pretty much repeats on the second line with the following differences:
The pattern that defines line 2 is a step lower than line 1 (i.e. it starts out on A as opposed to B).
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The first segment on line 1 kicked off with 4 monotone B quarter notes. Line 2 differs in the sense that it kicks off with 2 A quarter notes as opposed to 4 on the lyric “e- nough.”
Additionally, notice that the first syllable, “e,” in “e-nough” is sung pretty much under Reynolds’ breath. That, coupled with the drop in register in relation to the end of the previous line (which ended on F) functions in a “segmenting” manner between both lines.
Also notice how the vocal register “lows” (i.e. the monotone B delivery at the onset of the section and the monotone A delivery at the beginning of the second line) do a great job of providing the vocals with a moderate – intense – moderate – intense flow throughout both lines and provide the perfect set-up for the ultra-intense segments that follow. This is the definition of how to effectively engage the listener!
Group 2 (Lines 3 & 4)
The second “group” of lines (3 and 4) provides a complete shift in the nature of the vocal melody that defined group 1. Despite the change-up, however, notice that it’s equally, if not more infectious engaging and memorable as group 1.
Notice that there are 4 segments within the group.
Segments 1 and 3 (“welcome to the new age”) are sung in the same exact manner and follow an alternating, simplistic and repetitive F – E – F – E – F – B progression.
Segment 2 (“to the new age”) also follows the alternating F – E – F – B progression as well.
Segment 4 (“to the new age” - which is the final segment) then deviates from the others by changing over to a monotone B delivery except on the last lyric where it jumps up to D to conclude. Notice how this sets up the second half of the chorus that follows (i.e. “whoa-oa-oa-oa-oh, I’m radioactive…”).
Notice that each segment consists of an eighth note delivery EXCEPT for the last 2 lyrics, “new age,” which are quarter notes. Their slightly prolonged nature provides them with increased emphasis relative to the others. The eighth note delivery of “welcome to the” essentially set up these important lyrics.
Notice how each segment (i.e. phrase) is segmented from one another. After the alternating F – E delivery that defines each phrase, they conclude by dropping down to B which possesses a quarter note value and are followed by a quarter rest. This provides the listener with just enough time to have the preceding phrase sink in and resonate.
Memorability Factors
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Repetition & Diversifiers
Let’s now take a look at group 1 (lines 1 & 2) and group 2 (lines 3 & 4) to see the repetition that was utilized in order to get the vocal melody completely engrained within the listener’s head, as well as the diversifying factors that prevented the section from becoming overly monotonous.
Lines 1 & 2 in the first group utilize the same timing and follow virtually the same melodic pattern, with the exception being that the second line is a step down from the first.
The nature of the vocal melody in group 2 on segments 1, 2 and 3 follow a repetitive F – E – F progression, except at the tail end where they conclude on B. The diversifying factor occurs during the 4th segment which follows a B - B – B- B – D progression.
Segments 1 and 3 in the second group possess the same lyrics and follow the same exact timing and progression.
Segments 2 provides diversification between segments 1 and 3 with its shorter nature. Notice, however, that it still utilizes the same progression as 1 and 3.
Short Phrases / Segmenting
Each segment contains 6 words / 6 syllables or less and is segmented by either a rest or an octave jump.
K.I.S.S.
Lastly, notice the overall simplicity of the of all of the progressions within the first half of the chorus. In the first group we have mostly monotone runs, while in the second group we have simplistic, repetitive F – E – F fluctuations. The result, enhanced memorability potential as well as being pretty easy to follow and sing (considering you can nail that octave jump, of course!)
2nd Half of the Chorus
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Line Reference
Line 5: Whoa-oa-oa-oa-oh, Whoa-oa-oa-oa Line 6: I’m radioactive, radioactive
Vocal Range
High: B Low: A
Vocal Melody Structure
Group 1
Line 5 – Segment 1: Whoa-oa-oa-oa-oh
Word/Syllable Count: 1 word, 5 syllables
Progression: F – E – E – E – B
Rhythm: Eighth – Eighth – Eighth – Quarter – Quarter
Segmenting Method: Eighth Rest
Line 5 – Segment 2: Whoa-oa-oa-oa-I’m
Word/Syllable Count: 2 words, 5 syllables
Progression: F – E – E – E – B
Rhythm: Eighth – Eighth – Eighth – Quarter – Quarter
Segmenting Method: Eighth Rest
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Segment Flow Recap – Group 1 (Short vs. Longer)
Short – Short
Group 2
Line 6 – Segment 1: Ra-di-o-ac-tive
Word/Syllable Count: 1 word, 5 syllables
Progression: A – A – A – G – G
Rhythm: Eighth – Eighth – Eighth – Quarter – Quarter
Segmenting Method: Eighth Rest
Line 6 – Segment 2: Ra-di-o-ac-tive
Word/Syllable Count: 1 word, 5 syllables
Progression: G – G – G – G – F
Rhythm: Eighth – Eighth – Eighth – Quarter – Quarter
Segmenting Method: Eighth Rest
Segment Flow Recap – Group 2 (Short vs. Longer)
Short – Short
Here in the second half of the chorus we have another departure from the vocal melody that defined (and differed between) groups 1 and 2 in the first half. As you’ll see, all of the elements here come together here to make this part of the song the “primary payoff” for the listener.
Group 1 (The “Whoa’s”)
The first thing to note about the “whoas” is the fact that they’re “whoas” and not “proper” lyrics as mentioned earlier within the report. This is a perfect example of how an infectious “Pop” tactic is utilized within a Rock song to broaden its mass appeal. Note the following:
There are 2 back to back “whoa” segments that are “stretched out” over 5 notes.
Notice that both segments possess the same exact progression and timing.
Notice the infectious nature of each segment – a simplistic F – E – D descending progression that then climbs up to E and concludes on B. Notice that F, E and D are all
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eighth notes, but the E is a quarter note which in conjunction with the climb does a great job of providing color to the progression coupled with the drop down to conclude on B.
Notice that each segment ends with the drop down to B which possesses a quarter note value and is followed by an eighth rest. As with the other “segmentation methods” that we’ve seen, it gives the listener that split second to absorb and process the preceding segment.
What’s one of the most interesting and clever aspects about the “whoas” in this section is the fact that that instead of having the second segment end on an “oh” (i.e. the conclusion to “whoaoh”), it actually concludes on the lyric “I’m” which is the beginning of the line that follows. By having the first lyric of that line start out on a B and “radioactive” follow by jumping all the way back up to A, it provides the same type of intensity and emphasis that was utilized in group 1 of the chorus.
Group 2 (Radioactive)
Set up by the almost octave jump from B to A as just mentioned, the “payoff” title lyric of the song stands out by exuding the same type of intensity that defined the nature of group 1during the first half of the section. Note the following:
Notice that in contrast to the first half of the chorus where the segments in each individual “group” were similar in nature to one another with the full groups differing, here in the second half it’s actually the nature of each individual line (i.e. “whoa’s” and “radioactive”) that comprise a group and completely differ in nature from one another.
The lyric “radioactive” repeats twice in a row. The first time around it follows an A – A – A- G – G progression, while the second time it continues on with a monotone G delivery up until the tail end where it concludes by dropping down to F. Notice that the A to G and then G to F descent within the lyric does a great job of adding increased coloring and engagement value for the listener, ultimately heightening its infectious nature.
Notice that both “radioactive’s” utilize the same rhythm (eighth – eighth – quarter – quarter). The quarter notes do a great job of “prolonging” things just a bit to add increased color and emphasis to the title lyric.
Notice that the first “radioactive” is segmented from the second by an eighth rest. Again, as has been mentioned throughout this report it accentuates the “absorption” factor for the listener.
Memorability Factors
Repetition
The back to back “whoa” segments utilize the same progression and rhythm.
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The back to back “radioactive” segments utilize the same rhythm and both consist partly of a monotone styled delivery.
The full “whoa” and “radioactive” lines then repeat for a second time around in the same exact manner within the second half of the chorus.
Short Phrases & Segmenting
Each segment contains 1 lyric and 5 “stretched out” syllables, except for segment 2 which contains 2 lyrics and 5 syllables (i.e. “whoa, I’m”).
Each segment is segmented by an eighth rest which enables the listener to process and absorb the preceding segment.
K.I.S.S.
Again, as was the case during the first half of the chorus, the nature of the progressions and their associated rhythms are very simplistic in nature, which in turn makes them infectious, easy to sing, and in the end, MEMORABLE.
BRIDGE
Line Reference
Line 1: All systems go, the sun hasn’t died Line 2: Deep in my bones, straight from inside
Vocal Range
High: E Low: E
Vocal Melody Structure
Line 1 – Segment 1: All sys-tems go
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Word/Syllable Count: 3 words, 4 syllables
Progression: D – D – E – C
Rhythm: Half – Dotted Eighth – Dotted Eighth – Dotted Half
Segmenting Method: Eighth Rest
Line 1 – Segment 2: the sun has-n’t died
Word/Syllable Count: 4 words, 5 syllables
Progression: E – C – C – B
Rhythm: Eighth – Half – Dotted Eighth – Dotted Eighth – Dotted Half
Segmenting Method: Quarter Rest
Line 2 – Segment 1: Deep in my bones
Word/Syllable Count: 4 words, 4 syllables
Progression: D – D – E – C
Rhythm: Half – Dotted Eighth – Dotted Eighth – Dotted Half
Segmenting Method: Quarter Rest
Line 2 – Segment 2: straight from in-side
Word/Syllable Count: 3 words, 4 syllables
Progression: C – C – B – B
Rhythm: Half – Dotted Eighth – Dotted Eighth – Dotted Half
Segmenting Method: Quarter Rest
Here in the bridge we see the nature of the vocal melody perfectly reflecting and jibing with the nature of the lyrics and atmospheric soundscape. Overall, things are more “prolonged” and “slowed down” than during other sections of the song.
Line 1, Segment 1: All systems go
First, notice the simplistic nature of the progression that defines the short first segment of the section “all systems go”: D – D – E – C. The K.I.S.S. principal is in full effect.
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Now, take note of the rhythm. The vocal delivery here is more prolonged and drawn out than other sections of the song:
“All”: half note
“sys-tems”: dotted eighth , dotted eighth
“go”: whole note
Line 1, Segment 2: the sun hasn’t died
The second segment is also short in nature, following a simplistic E – C – C – B – B progression.
Notice that it kicks off with the drop down to E on the lyric “the” following the C that concluded the first segment. Considering that it’s an eighth note (as opposed to the half note that kicked off the first segment) and is pretty much sung under his breath, it comes and goes in the blink of an eye, functioning as a quick lead in to the lyric that follows, “sun,” which is a half note and possesses more emphasis due to its longer duration.
Notice the rhythmic similarity to the first segment detailed above:
“sun”: half note
“has-n’t”: dotted eighth, dotted eighth
“died”: whole note
Line 2, Segments 1 & 2
Here on line 2 we have almost a carbon copy of the progression and rhythm that defined line 1. The key difference is that the drop down to E on the lyric “the” that occurred on the first line doesn’t happen on the second:
Line 1: D – D – E – C – E – C – C – B – B
Line 2: D – D – E – C – C – C – B – B
Other than that (and the lyrics), their nature is exactly the same.
Memorabilty Factors
Repetition
Lines 1 and 2 as a whole possess virtually the same rhythm and progression.
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Even though the progression between segments within each line differ, each segment utilizes the same rhythm with the exception of the lyric “the” on the first line.
Short Phrases & Segmenting
Each segment within the section is short in nature, possessing 5 syllables / 4 words or less.
Each segment is segmented by a rest, providing the listener with time to absorb the phrase that preceded it.
K.I.S.S.
The section as a whole is simplistic in nature, defined by a limited vocal range and progressions /rhythms that are easy to follow and sing along to.
Top 10 Assessment Back to Top
Benchmark Analysis Compares Radioactive to the 23 songs that landed in the Billboard Pop Songs top 10 during Q1-2013
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Even though Radioactive is a Rock song, it does possess certain Pop qualities that are indicative of the mainstream Pop songs that top the charts. So – let’s take a look to see how Radioactive compared to the 23 top 10 hit Pop songs from Q1-2013:
How Radioactive is similar to chart-topping Pop hits
Radioactive utilizes the most popular Pop form: A-B-A-B-C-B (verse-chorus-verse- chorus-bridge-chorus)
It contains an intro within its framework
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It doesn’t contain an outro, instead ending on the chorus
Even though the intro consists partly of acoustic guitar, the vast majority of the song is electric in nature (i.e. synth and electric guitar), which is in line with the majority of chart-topping Pop hits
It contains a combination of primary instrumentation within the mix
It features a male lead vocal
It contains a pre-chorus
It doesn’t contain a solo
It contains a bridge
Radioactive possesses a fusion of sub-genre influences that that define its sound, which is the case with the majority of chart-topping Pop songs
How Radioactive differs from chart-topping Pop hits
Radioactive is 0:48 shorter than the average Pop hit
Its intro is 0:17 longer (more than double the length) of the average
Its first chorus hits 0:16/13% farther into the song than the average chart-topping Pop hit (specifically due to the long nature of the intro, which pushed back the first chorus occurrence within the song)
Radioactive’s lyrical theme differs from the majority of chart-topping Pop songs, which possess a love/relationship theme. We viewed the story as being inspirational pertaining to overcoming addiction and or depression, but as you know it can be interpreted in a multitude of ways.
As you can see, with the exception of some timing factors and its lyrical theme, Radioactive possesses many of the same compositional characteristics that are indicative of the Pop songs that top today’s charts.
A&R Hit Factor Assessment Back to Top
Artist/Band Career Factor Does the song have what it takes maintain or grow the artist’s clout in the mainstream?
Considering that Imagine Dragons have only 1 EP and 1 Album under their belt, the strength of Radioactive has most certainly expedited their foray into the mainstream and established them as a band with a proven ability to deliver ultra-infectious, memorable songs in an
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There are 2 caveats that need to be taken into consideration, however:
Radioactive for the most part is NOT indicative of the songs that appear on the Night Visions album. Fans that love them for this particular style may, or may not connect with the rest of their offerings.
It has been reported that Imagine Dragons worked on their Night Visions album for 3 years, painstakingly crafting it to the point where they thought it was ready to be introduced to the world. I think it’s safe to say that they won’t have this luxury with their second offering. It will be interesting to see if they’re a one-off or if they have what it takes to become mainstream mainstays (and I have a feeling that they do).
Originality Factor Does the song push genre boundaries and possess a unique nature or have you heard it all before? Does it stand out in the Pop mainstream?
When you break down Radioactive into its individual components, for the most part you won’t find anything that’s overtly unique or that hasn’t been done before. A few examples are as follows:
Been There, Done That
Vocals
Dan Reynolds is an exceptionally strong and talented vocalist, but he possesses a style and vibe that you’ve heard before (e.g. Ian Astbury of the Cult).
The overall nature of the vocal melody utilizes “tried and proven” techniques that enable the song to easily connect and resonate with the listener (ample repetition, diversifying factors, short phrases, segmentation methods, etc…).
Backing Music
We’ve all heard this type of Dubstep natured synth before, and it’s certainly not the first time that Dubstep has been fused into a Rock song.
The drum pattern is virtually identical to the Velvet Underground’s “Venus In Furs.”
We’ve all heard the nature of Radioactive’s electric guitars utilized in a plethora of Alt/Indie Rock and Pop songs – both past and current.
Song Structure
As we’ve seen, Radioactive possesses many of the compositional characteristics that
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are found in the majority of chart-topping Pop songs, including the A-B-A-B-C-B form, the “breakdown” bridge, a pre-chorus, the fusion of various primary instruments within the mix (i.e. synth + electric guitar, which is the most popular) and more.
The “Whoa” Factor
The Katy Perry/Maroon 5 “Who-oa’s” that conclude verse 2 as well as both pre- choruses.
The “sing along” “whoa-oa-oa-oa-oh’s” that occur in the chorus.
Now on the other hand, there were a number of factors that provided Radioactive with a unique vibe in relation to everyone else. A few examples are as follows:
Unique Factors
The “gasp” magic moment
The “octave vocal jump” magic moment that occurs near the beginning of the chorus.
A “radioactive” lyrical theme that can be interpreted in a multitude of ways, including ones plight to overcome addiction and or depression.
The manner in which the nature of the synths elicit a “Radioactive vibe.”
Putting It All Together
All in all, all of the factors above combine to produce a song that is both familiar yet stands out amongst most of its peers in the Rock and Pop mainstream.
Social Factors Were there any external social aspects surrounding the release of the song that could help increase its visibility, reach and success potential?
Imagine Dragons successfully capitalized on licensing initiatives & televised performances that helped to increase its visibility and heighten its success potential including:
Video Games
Assassin’s Creed III
MLB 13: The Show
Graceland
TV
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Promotion for shows on the History Channel
Promotion for NBC shows including Chicago Fire and Run For Your Lives
Promotion for Syfy’s Defiance
Theme song – Nat Geo’s Inside Combat Rescue
Events
Theme song – Combat Zone Wrestling’s “Cage Of Death XIV”
Television Performances
Jimmy Kimmel Live!
The Late Show With David Letterman
The Tonight Show With Jay Leno
The Demographic Reach / Fan Factor Is this a song that’s pigeonholed in one specific gender/age/genre bracket or does it have mass reach?
One of the core strengths of Radioactive is that it fuses multiple sub-genres together under one roof that enables it to have mass appeal – traversing more than one specific demographic.
Otherwise stated, it has something for everyone, including people who are into:
Dark, evocative Indie/Alt Rock
Dubstep Fusion
Rock with an infectious Pop nature
Triumphant, powerful sing along natured choruses
Cryptic lyrics that are subject to interpretation by the listener to fit their own life’s circumstances.
Songs that contain “surprises” and “magic moments” (i.e. not run of the mill predictable songs)
In regard to age, the core is most definitely centered in the mid 20 range, with mid to late teen on the early side and late 30?s/early 40?s on the late side (decreasing in number as age increases).
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In regard to sex, the overall nature of the song lends itself more towards a male demographic, though its Pop nature definitely will capture a female audience as well.
The “Holly Sh*t – You Gotta Hear This NOW” Factor Is this a song where someone would instantly call up their friend and say “drop what you’re doing – you gotta listen to this – NOW!!!”
Typically the answer for most songs in this category is no. There’s usually nothing that is so revolutionary or overtly special about them that would cause someone to drop what they’re doing, call a friend and say – “holly sh*t! you gotta hear this now!”
Radioactive, however, just might be the exception specifically due to the ultra-powerful, infectious nature of the chorus. The fact that it has 2 “payoffs” for the listener coupled with the intense “magic moment” at the onset (i.e. the vocal octave jump), it’s something that someone may feel the need to share right away. This is where Radioactive blows away most other songs in the current mainstream Rock genre.
The “Multiple Listen” Factor Is this song engaging enough to warrant repeat listens?
As we’ve always discussed within these Hit Song Deconstructed reports, once a song takes off in the mainstream and is milked for everything that it’s worth, eventually the law of diminishing returns sets in where you just get sick and tired of hearing it.
Radioactive, however, has SO MUCH going on within the song and it’s so well crafted that it takes longer than most to get sick of. Once you take a break, however, there’s no doubt that it’s going to reconnect with maximum engagement and impact.
And as an aside, after listening to this song dozens and dozens of times for this “deconstruction” I STILL enjoy listening to it, which is certainly a rarity!
The “Human Emotion” Factor Does this song exude a vibe that enables the listener to connect on a deep, emotional, HUMAN level?
Absolutely, and more so than most songs within the current Rock and Pop genres, which is one of its its key differential advantages and strengths. Examples include:
First and foremost Reynolds’ stellar, evocative vocal performance that occurs throughout the song. He breathes life into each lyric that he sings and perfectly jibes with and accentuates the nature of the lyrical theme within each section.
The nature of the instrumentation utilized throughout the song was perfectly suited to accentuate the lyrical theme and provide the perfect backdrop for Reynolds’ evocative vocals to shine.
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The lyrics are exceptionally evocative, utilizing a plethora of imagery, action and emotion to connect with the listener on a deep level. Additionally, their cryptic nature can be interpreted by the listener as they see fit, which heightens the “human connectability” factor.
Memorability Factor How easy is it to remember the song’s lyrics & melody? Is each section of the song equally as memorable?
Let’s take the lyrics first. I think you would have to agree that they are most memorable in the chorus (where they should be) due to their more simplistic, repetitive nature. This is the case in the bridge as well due to its short nature. The verse and pre-chorus sections aren’t far behind, however, but there’s a bit more to absorb.
Now in regard to the vocal melody, this is where Radioactive is exceptionally memorable. Whether you can remember the lyrics or not I guarantee that you can at least remember and hum the vocal melody within each section of the song after just a few listens. This is due to 2 key factors – simplicity and ample use of repetition.
And speaking of repetition (which is the most effective way to get a melody engrained within the listener’s head), let’s recap some of the repetition highlights that were utilized throughout the song so you can see how elements were reinforced throughout (reference the individual sections of the report for specifics):
Chord Progression
The same general Bm – D – A – E progression is utilized throughout the vast majority of the song.
Intro
The “whoa-oh-oh” vocal repeats 3 times in the exact same manner.
Verse
There’s vocal melody progression and rhythmic repetition WITHIN each verse section.
Overall verses 1 & 2 repeat in the same exact manner EXCEPT in regard to how they end (i.e. the “gasp” vs. “whoa-oa”), the lyrics and the electric guitar that’s present within verse 2.
Pre-Chorus
There’s vocal melody progression and rhythmic repetition WITHIN each pre-chorus section.
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Pre-choruses 1 & 2 are virtually identical to one another (INCLUDING the lyrics) but differ slightly due to the additional synth that’s present in the mix within pre-chorus 2.
The overall nature of the pre-choruses and verse sections are exceptionally similar to one another, both from a vocal melody progression and rhythmic standpoint.
Chorus
There’s vocal melody progression and rhythmic repetition WITHIN each chorus section.
All 3 chorus occurrences are pretty much carbon copies of one another except for some subtle differences (i.e. the manner in which they end).
Bridge
Both lines utilize virtually the same vocal melody progression and rhythm.
So, as a whole, is Radioactive a memorable song? Absolutely!
Longevity Factor – Artist Will this song become a staple of the artist’s repertoire and catalog?
There is no doubt that Radioactive will be considered a core highlight within Imagine Dragons’ catalog and will be featured as a staple in their live shows for the duration of their career.
The bottom line is that the song is that good, and its currently different enough from all of their other material which provides it with its own unique niche within their catalog.
Longevity Factor – Genre Does this song have what it takes to stand the test of time and rank amongst the all-time greats?
As we’ve seen throughout this report, Radioactive contains all of the ingredients that are indicative of the songs that top today’s charts, and also possesses that additional commodity that most mainstream hits lack – the “human element” factor.
When you put the 2 together, you wind up with a song that both entertains AND provides deep level connection for the listener. It’s the combination of the 2 that can lead to a long shelf life.
Only time will tell how Radioactive stands up amongst the greats, but at the very least it should rank as a highlight when this period of music is looked back upon.
Conclusion Back to Top
Now that we have thoroughly explored Radioactive, let’s review some of the core strengths and weaknesses of the song:
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Strengths
A new or partial section of the song occurs once every 0:14. The result – the listener is always kept engaged with something new entering the mix on a frequent basis. There’s no time to “get bored.”
Radioactive has a lot of craft fundamentals in common with the Pop songs that top today’s charts, providing it with a “familiar” quality which makes it easy to connect with. It differs in key areas as well, which gives it its own unique identity and enables it to stand out and shine amongst the current mainstream Rock and Pop pack.
The vast majority of time within the song (46%) was allocated to that ultra-infectious, powerful chorus, which was well warranted. All of the other sections except for the bridge followed at just 15% of the total song.
Radioactive provides well executed shifts in MTI levels throughout the song, which makes for an exceptionally engaging listening experience.
Radioactive contains the perfect balance of repetition and diversity, accentuating the memorability factor without becoming overly monotonous.
The listener is provided with 2 key “payoffs” within the chorus – the “whoa” sing along section that is primed for audience participation in a live setting and the lyrical/melodic payoff of the title lyric “Radioactive.”
The listener is provided with 2 “magic moments” within the song which takes it to the next level – the “gasping” inhale/exhale that occurs at the end of the first verse and the “octave vocal jump” that occurs at the onset of the chorus on the lyrics “I’m wakin’ up I FEEL IT IN MY BONES” which takes the intensity of the song to an apex.
The lyrics are evocative, utilizing a plethora of imagery, action and emotion to connect with the listener on a deep level. They’re also cryptic in nature which lends themselves to being interpreted in a multitude of ways by the listener.
The overall nature of the vocal melody throughout the song is exceptionally infectious, engaging and memorable due to effective use of the the K.I.S.S. principal, segmenting and repetition/diversifiers.
The nature of each instrument utilized within the mix played an integral role in eliciting emotion and providing the perfect backdrop for the vocals and lyrics to shine.
Dan Reynolds’ vocal delivery throughout the song was stellar, bringing each lyric to life on an emotional, “human” level.
The “Whoa” factor added an additional Pop sensibility to the song, enabling it to connect on a more widespread level .
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Weaknesses
Absolutely none.
Final Thought – Strength On All Fronts
Radioactive is the perfect example of a song that’s exceptionally strong on all fronts. It was meticulously well crafted, with each second of the song being tweaked for maximum effectiveness and impact.
All of the elements, including lyrics, vocal delivery, melody, instrumentation and backing music fused perfectly with one another to create an exceptionally engaging, infectious and memorable song with wide demographic appeal, while the “human element” enabled it to connect and resonate on a deep and emotional level.
Songwriter/Producer Take Aways Back to Top
The Complete Package If you’ve been reading these reports for a while, you’ve by now noticed that just about every song that reaches the top of the charts is exceptionally strong on all fronts (some more so than others). This means that every section is as engaging as the next, and the lyrics, vocal delivery, melody, instrumentation, backing music, etc…are equally strong and effective. And as you’ve just seen, Radioactive is a perfect case-in-point..
I know that it’s easy to “burn out” while writing your song – not wanting to go that extra mile because you’ve run out of gas and your basically just sick of working on the same song over and over and over again. But remember – the songs that find the most success (whether you like them or not) are the ones where each element is top-notch. So, take a breather and then come back to it. Do your song justice and make it as amazing as it can possibly be. You’ll be glad you did – trust me!
“Magic Moments” Providing the listener with unexpected elements that make them go WOW!!! when they hear them is a surefire way to take your song to the next level and increase its chances for success. Radioactive included 2 magic moments within the song – the “gasping” inhale/exhale that enabled you to audibly witness him “breathing in the chemicals,” and the “octave vocal jump” that occurred on the lyrics “I feel it…” at the onset of the chorus, which took the intensity to a level that you were not expecting.
That being said, don’t get carried away and overdo it. “Magic moments” should be used sparingly in order to maximize their effectiveness.
Multiple “Payoffs” When crafting your song, you want to make sure that you provide the listener with an infectious, engaging and memorable “payoff,” meaning “give them what they came for.” In most cases, the payoff resides in the chorus, and it can be lyrical, melodic, sonic or all of the above in
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Radioactive provides the listener with 2 key payoffs within the chorus (actually 3 if you take into account its sonic nature) – the sing-along natured “whoa’s” that are primed for audience participation in a live environment, and the title lyric “radioactive” payoff that is sung with the same intensity as the “magic moment” during the first half of the section.
Sub-Genre Fusion This is what it’s all about in today’s mainstream Rock and especially Pop scene, and that’s good news for aspiring songwriters who want to take their creativity to new heights without jeopardizing their commercial potential. The majority of current mainstream songs fuse multiple sub-genres together to create new and exciting vibes, and Radioactive is a perfect case-in-point with its fusion of Alt/Indie Rock, Electro, Dubstep and Pop elements.
But remember – if you’re going to push the boundaries, make sure that your song is tied together with stellar craft fundamentals that will enable it to connect and resonate with the largest possible audience.
Stellar Vocals You can have a song that is exceptionally well crafted on all fronts, but if the lead vocal doesn’t deliver the lyrics with conviction, emotion and power, your song is not going to connect and resonate with the listener on the deepest possible level. So – take the time to really examine your lyrics. Map out what emotion is warranted in each section, and deliver it in the most compelling manner possible. This was a core strength that Dan Reynolds brought to the table in Radioactive.
Frequent Sectional Turnover Lingering for too long in a particular section without providing diversity will have a detrimental effect on your song, being that you increase the chances of the listener getting bored, losing interest and tuning out.
So – make sure that a new element is entering the mix as frequently as possible to prevent this from happening. In the case of Radioactive, all of the sections except for the intro and chorus changed over once every 0:14. But even in the case of the intro and chorus, remember that those 0:28 sections were essentially split into 2 distinct 0:14 segments.
Clever, Interpretive Lyrics The true mark of great lyric writing stems from delivering a lyrical theme in a compelling manner utilizing a plethora of imagery, action and emotion while leaving itself open for interpretation by the listener as they see fit. This was one of the crowning achievements of Radioactive. The lyrics engage you on a deep, evocative level, and you can interpret the lyrical theme in a multitude of ways including overcoming depression and or addiction, revolution/new world order and moving on after a relationship, just to name a few.
Just remember that the nature of the lyrics need to jibe with the nature of the song at hand. Radioactive’s lyrics and cryptic nature would never have worked in a Carly Rae Jepsen “Call
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Me Maybe” styled song, which calls for more straight-forward lyrics (though conveyed in a clever manner).
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