Post by icarusofsillyboys on Nov 13, 2024 6:44:08 GMT
Benjamin Ian Kowalewicz (16 December, 1975)
Voice Type: Tenor Without a Face
Vocal Range: F♯2 - A5 (3 Octaves, 3 Notes)
{Vocal Summary}
Benjamin Kowalewicz is well known for his aggressively whiney high pitched wails and screams. Billy Talent (2003) sees the most of these screams (usually F5 or higher) and nasal tone which he often carries into the fifth octave in songs like Voices of Violence and Living in the Shadows. However, he is not a one-trick pony as seen with a decent low extension down to B2 showcased best in Standing in the Rain and Lies. In Billy Talent II (2006) Kowalewicz begins screaming less, but the screams are still present and reaching new heights in songs like Devil in a Midnight Mass. His fifth octave notes have also become far more confident with a cleaner and more "pleasant" tone allowing him to soar in Navy Song. However, Kowalewicz hardly dips below A3 throughout the entire album, only three brief notes. Overall, this album shows his singing chops and proves he's not just a screamer.
The bigger developments arise in Billy Talent III (2009) where the lower notes slowly start to return in songs like Rusted From the Rain and his fourth octave belts have developed a rounder and grittier tone. While this power in his belting sweet spot is impressive, he spends a lot less time in the fifth octave. Also, his screams have become for less frequent and often lower in pitch. Most of these changes continue into Dead Silence (2012) but he's brought that power in his upper-fourth octave up to the C5/D5 area. This grittier, fuller sound while maintaining range gives a more mature quality to his voice that fits the album sonically and thematically perfectly. Several songs like Crooked Minds and Man Alive best showcase this newfound power in his upper-register. He continues exploring his lower-register at a similar rate to 2009. In following albums Afraid of Heights (2016) and Crisis of Faith (2022), this tends to be how he continues to use his voice.
Benjamin Kowalewicz is well known for his aggressively whiney high pitched wails and screams. Billy Talent (2003) sees the most of these screams (usually F5 or higher) and nasal tone which he often carries into the fifth octave in songs like Voices of Violence and Living in the Shadows. However, he is not a one-trick pony as seen with a decent low extension down to B2 showcased best in Standing in the Rain and Lies. In Billy Talent II (2006) Kowalewicz begins screaming less, but the screams are still present and reaching new heights in songs like Devil in a Midnight Mass. His fifth octave notes have also become far more confident with a cleaner and more "pleasant" tone allowing him to soar in Navy Song. However, Kowalewicz hardly dips below A3 throughout the entire album, only three brief notes. Overall, this album shows his singing chops and proves he's not just a screamer.
The bigger developments arise in Billy Talent III (2009) where the lower notes slowly start to return in songs like Rusted From the Rain and his fourth octave belts have developed a rounder and grittier tone. While this power in his belting sweet spot is impressive, he spends a lot less time in the fifth octave. Also, his screams have become for less frequent and often lower in pitch. Most of these changes continue into Dead Silence (2012) but he's brought that power in his upper-fourth octave up to the C5/D5 area. This grittier, fuller sound while maintaining range gives a more mature quality to his voice that fits the album sonically and thematically perfectly. Several songs like Crooked Minds and Man Alive best showcase this newfound power in his upper-register. He continues exploring his lower-register at a similar rate to 2009. In following albums Afraid of Heights (2016) and Crisis of Faith (2022), this tends to be how he continues to use his voice.
{Notewatched Material}
Watoosh: B2 - E♭5 (2 Octaves, 4 note)
Billy Talent: B2 - G♯5 (2 Octaves, 9 Notes)
Billy Talent II: F3 - A5 (2 Octaves, 4 Notes)
Billy Talent III: E3 - F♯2 (2 Octaves, 2 Notes)
Dead Silence: E♭3 - F5 (2 Octaves, 2 Notes)
Afraid of Heights: F♯2- C♯5 (2 Octaves, 7Notes)
Crisis of Faith: A2 - E5 (2 Octaves, 7 Notes)
Significant High NotesWatoosh: B2 - E♭5 (2 Octaves, 4 note)
Billy Talent: B2 - G♯5 (2 Octaves, 9 Notes)
Billy Talent II: F3 - A5 (2 Octaves, 4 Notes)
Billy Talent III: E3 - F♯2 (2 Octaves, 2 Notes)
Dead Silence: E♭3 - F5 (2 Octaves, 2 Notes)
Afraid of Heights: F♯2- C♯5 (2 Octaves, 7Notes)
Crisis of Faith: A2 - E5 (2 Octaves, 7 Notes)
A5 ("Devil in a Midnight Mass")
G♯5 ("Nothing to Lose", "River Below", "Try Honesty")
F♯5 ("Line and Sinker", "River Below", "Saint Veronika", "Worker Bees")
F5 ("Covered in Cowardice", "Crooked Minds", "The Dead Can't Testify", "Devil in a Midnight Mass", "Living in the Shadows", "Perfect World", "This Is How It Goes", "Try Honesty", "Turn Your Back", "Voices of Violence")
E5 ("Burn the Evidence", "Devil on my Shoulder", "Forgiveness I + II")
E♭5 ("Lies", "M&M", "Wake Up the Town", "White Sparrows" Demo)
D5 ("Absorbed", "Cold Turkey", "Covered in Cowardice", "Crooked Minds", "Devil in a Midnight Mass", "Devil on my Shoulder", "Love Was Still Around", "Man Alive", "The Navy Song", "A Passage to Bangkok", "Perfect World", "Runnin' Across the Tracks", "Smiling Politely", "Voices of Violence", "You Had It All")
C♯5 ("Cure for the Enemy", "Ghost Ship of Cannibal Rats", "Judged", "Living in the Shadows", "Mother's Native Instrument", "Tears Into Wine")
C5 ("Afraid of Heights", "Bloody Nails + Broken Hearts", "Covered in Cowardice", "Crooked Minds", "The Crutch", "End of Me", "Fallen Leaves", "Forgiveness I + II", "Horses & Chariots", "Line and Sinker", "Living in the Shadows", "Louder Than the DJ", "The Navy Song", "Nothing to Lose", "One Less Problem", "Pins and Needles", "Rabbit Down the Hole", "Runnin' Across the Tracks", "Show Me the Way", "Surrender", "Sympathy", "Voices of Violence", "When I Was a Little Girl", "The Wolf", "Worker Bees")
B4 ("I Beg to Differ", "Big Red Gun", "The Crutch", "The Dead Can't Testify", "Diamond on a Landmine", "End of Me", "For You", "Half Past Dead", "Hanging by a Thread", "Judged", "Kingdom of Zod", "Lies", "The Navy Song", "Nothing to Lose", "A Passage to Bangkok", "Reactor", "Rusted from the Rain", "Show Me the Way", "Stand Up and Run")
B♭4 ("Bloody Nails + Broken Hearts", "Burn the Evidence", "Chasing the Sun", "Covered in Cowardice", "Cure for the Enemy", "Dead Silence", "Devil in a Midnight Mass", "Don't Count on the Wicked", "Do You Wanna", "The Ex", "Hanging Out With All the Wrong People", "Horses & Chariots", "M&M", "Mother's Native Instrument", "Pins and Needles", "Prisoners of Today", "Saint Veronika", "Square Root of Me", "Sudden Movements", "Sympathy", "Tears Into Wine", "This Suffering", "Viking Death March", "White Sparrows", "The Wolf", "Worker Bees")
A4 ("Afraid of Heights", "Beach Balls", "I Beg to Differ", "Big Red Gun", "Burn the Evidence", "Chasing the Sun", "Crooked Minds", "Cut the Curtains", "The Dead Can't Testify", "Dead Silence", "Definition of Destiny", "Devil in a Midnight Mass", "Devil on My Shoulder", "Diamond on a Landmine", "Don't Count on the Wicked", "Don't Need to Pretend", "Fallen Leaves", "February Winds", "Forgiveness I + II", "For You", "Ghost Ship of Cannibal Rats", "Hanging by a Thread", "Hanging Out With All the Wrong People", "Horses & Chariots", "Judged", "Kingdom of Zod", "Leave Them All Behind", "Lies", "Line and Sinker", "Living in the Shadows", "Love Was Still Around", "Man Alive", "Mother's Native Instrument", "Nita", "Nothing to Lose", "One Less Problem", "Perfect World", "Pins and Needles", "Pocketful of Dreams", "Prisoners of Today", "Rabbit Down the Hole", "Reactor", "Recap", "Reckless Paradise", "Red Flag", "Runnin' Across the Tracks", "Saint Veronika", "Show Me the Way", "Square Root of Me", "Stand Up and Run", "Surprise! Surprise!", "Surrender", "This Suffering", "Swallowed Up by the Ocean", "This Is How It Goes", "This Is Our War", "Time-Bomb Ticking Away", "Turn Your Back", "Voices of Violence", "When I Was a Little Girl", "When Love Was Still Around", "Where is the Line", "You Had It All")
Significant Low Notes
G3 ("Absorbed", "Beach Balls", "Big Red Gun", "Bird in the Basement", "Chasing the Sun", "Cold Turkey", "The Crutch", "The Dead Can't Testify", "Do You Wanna", "End of Me", "Forgiveness I + II", "Horses & Chariots", "Kingdom of Zod", "Lies", "Nothing to Lose", "Pins and Needles", "Pocketful of Dreams", "Prisoners of Today", "Reactor", "Recap", "River Below", "Saint Veronika", "Square Root of Me", "Standing in the Rain", "Stand Up and Run", "Sympathy", "Viking Death March", "When I Was a Little Girl", "The Wolf")
F♯3 ("Cure for the Enemy", "Cut the Curtains", "Diamond on a Landmine", "The Ex", "Leave Them All Behind", "Lonely Road to Absolution", "Standing in the Rain", "Try Honesty", "Warmth of Windows")
F3 ("Bloody Nails + Broken Hearts", "Cold Turkey", "Ghost Ship of Cannibal Rats", "Horses & Chariots", "This Is How It Goes" Demo, "Kingdom of Zod", "Lonely Road to Absolution", "Mother's Native Instrument", "Prisoners of Today", "Square Root of Me", "Surrender", "Warmth of Windows")
E3 ("Beach Balls", "Big Red Gun", "The Crutch", "End of Me", "Forgiveness I + II", "Half Past Dead", "Hanging Out With All the Wrong People", "Lies", "Louder Than the DJ", "New Orleans Is Sinking", "Recap", "Rusted from the Rain")
E♭3 ("Cure for the Enemy")
D3 ("Absorbed", "Beach Balls", "Bloody Nails + Broken Hearts", "Chasing the Sun", "Half Past Dead", "Hanging Out With All the Wrong People", "Leave Them All Behind", "Lonely Road to Absolution", "Louder Than the DJ", "Mother's Native Instrument", "Nita", "Rusted from the Rain", "Saint Veronika", "This Is How It Goes" Demo, "This Is Our War", "The Wolf")
C3 ("Absorbed", "Chasing the Sun", "This Is Our War")
B2 ("Absorbed", "Beach Balls", "Standing in the Rain")
A2 ("Hanging Out With All the Wrong People", "Leave Them All Behind")
F♯2 ("Leave Them All Behind")
{Questionable Notes}
B♭4 "Diamond on a Landmine"[2]
B♭2 "Tears Into Wine"[2]
[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.
B♭4 "Diamond on a Landmine"[2]
B♭2 "Tears Into Wine"[2]
[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.
Green marks harsh, distorted vocals.
Underlines mark backing vocal notes and notes obscured in the song mix.
Boldface marks notes that are considered to be particularly notable examples of this person’s vocal capabilities.
