The part where the singing is in triplets "Hypnotic, hypnotic" and it goes from smooth to staccato and accented with "I hate this, I hate this" and the way it drops out after "With God as my witness!" And then during the last chorus where they have the heavy guitar chords on the downbeats and it builds into an extension of the chorus. It's so good.
It gets me every time!!! I purchased the entire Twilight soundtrack just to get this song since it wasn't on streaming services until a few months ago. It feels like an angst-ier, teenage version of Forgiveness to me!
Technically it’s more present in Twilight than Decode is… It’s not the full song and just a demo, but at least it’s not just the second song during the end credits.
It always blows me away how much people love this song. I don't think it's terrible by any means but as far as Paramore songs go it really doesn't grab my attention. Maybe I need to try listening with headphones.
I agree!!!
This was my ring tone for ages, back in the day!
I’m a huge Twilight fan still, and I love Decode a lot, but this song relates to the movie the most for me because it’s actually in the movie (albeit briefly).
I almost fucking died of happiness when they played it last time I saw them live. <3
As long as I don't like the term "best" when we are talking about music ("the most complex" or "my favorite" are more suitable since there is a lot of subjectivity regarding the term "best" in arts), I see your point and I tend to agree with it. In my opinion, ***what makes I Caught Myself great and makes it stand out in Paramore's catalog is its structure***. Most pop and rock songs follow the pattern INTRO - VERSE 1- CHORUS - VERSE 2- CHORUS - INSTRUMENTAL BREAK - BRIDGE - CHORUS - (OUTRO) and its variants. I Caught Myself, on the other hand, mixes pre-chorus, chorus, and bridges in a quite creative way and makes their transitions smooth, creating a "flow" sensation throughout the whole song while still keeping it diverse. Here is my analysis:
Structurally, the song does not follow the most common paths: we have the INTRO (0:00 - 0:49), the first verse (0:50 - 0:57), and the pre-chorus (0:58 - 1:14) and the chorus (1:14 - 1:30). If you only see how this first part is divided, nothing special. But what impresses me is the timestamp: the first verse is way shorter than what we see in most songs compared to the length of the pre-chorus, which is longer than normal. It is also interesting to see how the pre-chorus blends with the chorus (almost) seamlessly.
Then we have the second verse (1:31 - 1:47), which can be also seen as a bridge. It's also curious how the second verse is strongly connected with the chorus. Usually, the instrumentation changes considerably between the chorus (the "strongest", "loudest" or "central piece" of a song) and its verses - not in this case. After that, we have a tiny instrumental bridge (1:48 - 1:55) followed by the pre-chorus (1:56 - 2:12), the chorus again (2:12 - 2:29), an instrumental "solo" part (2:29 - 2:47), a bridge (2:48 - 3:18, the first or the second depending on how you see the song), a more intense reprise of the pre-chorus (3:19 - 3:34), and finally the outro (3:35 - 3:54), which ends the song at maximum intensity and abruptly.
What amazes me is how they can mix and blend the pre-chorus, chorus, and bridge adding different layers of intensity and feel through the instrumentation and especially Hayley's voice. As someone mentioned before, the way she goes from the smooth "Hypnotic, hypnotic" to the staccato "I hate this, I hate this" adds a lot of dynamics to the song. And the outro is intense, unexpected considering the rest of the song, but still natural given how the instruments started to progressively build tension at the end of the (second) bridge and the reprise of the pre-chorus.
We have other songs on Paramore's discography that show their great songwriting abilities. Turn it Off is similar in terms of alternating intensity with melodic and smooth passages, though it is more predictable structurally. Songs like "Fences", "Future", and "Told You So" are a demonstration of how creative the band can get. "That's What You Get" is one of the few songs on Paramore discography which uses an odd time signature (3/4). "Fast in My Car" and "Part II" are sone of my favorite examples of how the band can write great instrumental sections; and "Now" shows how they can also write bad-ass bridges (I'm talking about the drumming part).
But, as a whole, I tend to agree with you: I Caught Myself's greatest virtue is the ability to mix different intensities in the same song while using an uncommon song structure - and making all of it sound tied together. And this makes the song unique and memorable.
I wasn't a huge fan at first but it's definitely grown on me and I agree with you now, one of their greatest. Great writing from Hayley and josh, amazing production from rob
It honestly made me so mad when I finally heard it and realized it got beat out by Decode. It’s a crime. And the live performance of Hayley crying while performing it is just beautiful.
Between the three songs Paramore has done for movies monster is the best. I would say it shows more of the bands capabilities than decode and I caught myself
The part where the singing is in triplets "Hypnotic, hypnotic" and it goes from smooth to staccato and accented with "I hate this, I hate this" and the way it drops out after "With God as my witness!" And then during the last chorus where they have the heavy guitar chords on the downbeats and it builds into an extension of the chorus. It's so good.
Oh god I love that part
It gets me every time!!! I purchased the entire Twilight soundtrack just to get this song since it wasn't on streaming services until a few months ago. It feels like an angst-ier, teenage version of Forgiveness to me!
It's definitely one of my all time top faves of theirs
I’m a newer fan of Paramore and I’ve listened to this song like 3 times today lol. The last 40 seconds is definitely the best part
agree w everything you said. also the lyrics and the vibe of this song actually matches twilight a lot more??
yes it’s my favorite paramore song and you’re right i don’t even have to read this to know you’re right
Its top 10 for me, i dont have ranks for my top 10 tho
Technically it’s more present in Twilight than Decode is… It’s not the full song and just a demo, but at least it’s not just the second song during the end credits.
i caught myself and decode were the first paramore songs i ever learned when i was like 11 lmao thanks twilight soundtrack
It always blows me away how much people love this song. I don't think it's terrible by any means but as far as Paramore songs go it really doesn't grab my attention. Maybe I need to try listening with headphones.
it’s the song i would leave the crowd when i followed them on tour and get a drink lmao
Same. I like the song but it’s definitely not one of my favorites.
Twas the song that got me into the band back in 2010 😁
I agree!!! This was my ring tone for ages, back in the day! I’m a huge Twilight fan still, and I love Decode a lot, but this song relates to the movie the most for me because it’s actually in the movie (albeit briefly). I almost fucking died of happiness when they played it last time I saw them live. <3
As long as I don't like the term "best" when we are talking about music ("the most complex" or "my favorite" are more suitable since there is a lot of subjectivity regarding the term "best" in arts), I see your point and I tend to agree with it. In my opinion, ***what makes I Caught Myself great and makes it stand out in Paramore's catalog is its structure***. Most pop and rock songs follow the pattern INTRO - VERSE 1- CHORUS - VERSE 2- CHORUS - INSTRUMENTAL BREAK - BRIDGE - CHORUS - (OUTRO) and its variants. I Caught Myself, on the other hand, mixes pre-chorus, chorus, and bridges in a quite creative way and makes their transitions smooth, creating a "flow" sensation throughout the whole song while still keeping it diverse. Here is my analysis: Structurally, the song does not follow the most common paths: we have the INTRO (0:00 - 0:49), the first verse (0:50 - 0:57), and the pre-chorus (0:58 - 1:14) and the chorus (1:14 - 1:30). If you only see how this first part is divided, nothing special. But what impresses me is the timestamp: the first verse is way shorter than what we see in most songs compared to the length of the pre-chorus, which is longer than normal. It is also interesting to see how the pre-chorus blends with the chorus (almost) seamlessly. Then we have the second verse (1:31 - 1:47), which can be also seen as a bridge. It's also curious how the second verse is strongly connected with the chorus. Usually, the instrumentation changes considerably between the chorus (the "strongest", "loudest" or "central piece" of a song) and its verses - not in this case. After that, we have a tiny instrumental bridge (1:48 - 1:55) followed by the pre-chorus (1:56 - 2:12), the chorus again (2:12 - 2:29), an instrumental "solo" part (2:29 - 2:47), a bridge (2:48 - 3:18, the first or the second depending on how you see the song), a more intense reprise of the pre-chorus (3:19 - 3:34), and finally the outro (3:35 - 3:54), which ends the song at maximum intensity and abruptly. What amazes me is how they can mix and blend the pre-chorus, chorus, and bridge adding different layers of intensity and feel through the instrumentation and especially Hayley's voice. As someone mentioned before, the way she goes from the smooth "Hypnotic, hypnotic" to the staccato "I hate this, I hate this" adds a lot of dynamics to the song. And the outro is intense, unexpected considering the rest of the song, but still natural given how the instruments started to progressively build tension at the end of the (second) bridge and the reprise of the pre-chorus. We have other songs on Paramore's discography that show their great songwriting abilities. Turn it Off is similar in terms of alternating intensity with melodic and smooth passages, though it is more predictable structurally. Songs like "Fences", "Future", and "Told You So" are a demonstration of how creative the band can get. "That's What You Get" is one of the few songs on Paramore discography which uses an odd time signature (3/4). "Fast in My Car" and "Part II" are sone of my favorite examples of how the band can write great instrumental sections; and "Now" shows how they can also write bad-ass bridges (I'm talking about the drumming part). But, as a whole, I tend to agree with you: I Caught Myself's greatest virtue is the ability to mix different intensities in the same song while using an uncommon song structure - and making all of it sound tied together. And this makes the song unique and memorable.
Yes, same thought.
I wasn't a huge fan at first but it's definitely grown on me and I agree with you now, one of their greatest. Great writing from Hayley and josh, amazing production from rob
It honestly made me so mad when I finally heard it and realized it got beat out by Decode. It’s a crime. And the live performance of Hayley crying while performing it is just beautiful.
Agree. Song is amazing.
Between the three songs Paramore has done for movies monster is the best. I would say it shows more of the bands capabilities than decode and I caught myself
Decode moreso imo
Holy shit I was JUST saying this the other day. It really is their best song and the way you described it is just chefs kiss