Songbook

Trndsttr [Lucian Remix] — Black Coast feat. M. Maggie, Lucian

I don’t remember how I first found this song; I don’t listen to any of these artists or much of this genre of music, really. But I know exactly why I kept listening to it. I have a thing for the chord progression of the chorus. This isn’t the first song to use it; it’s the progression of Just the Two of Us by Grover Washington, Jr. It’s an arresting modal shift with a flavor both distinctive enough to stand out wherever it’s used and timeless enough to fit a wide variety of genres. Way cooler than the often-referenced “Four Chord Song” (i.e., I - V - vi - IV).

About this song in particular: it’s not like I only like it because of the harmony, although I do collect “Just the Two of Us” songs like baseball cards. I think the song brings its own kind of fun to the changes: e.g., the “wonky” synth with the really extreme volume LFO, or the intermittent breakbeats that punctuate the chorus. It’s crazy for me to think that tissong is almost a decade old now; definitely old enough and “of its time” enough to feel like a throwback at this point.

Additional note: I just found out the progression may be a modification of Sunny by Bobby Hebb, but it could be a coincidence. In any case, as far as I know, Just the Two of Us is the first song with that distinct version of the chords, which then got copied by a lot more songs.

Fotzepolitic — Cocteau Twins

Probably my favorite song on an album full of bangers. The big delay on the guitar gets me excited. The song is “up” the whole time: the verse and chorus are high-energy, and then the extended chorus with the cool harmonic extension of the phrase at 2:17 is even higher-energy, and then the guitar solo out is the climax. It’s a prime example of what you might call an “ecstatic” song structure (it might be worth trying to find other examples of this and write a full post). The song feels even shorter than it is because the form is so tightly constructed and stays focused on essentially one feel the whole time.

Here’s Where the Story Ends — The Sundays

This is one of those songs I felt like I knew the first time I heard it, because the feeling behind it was tangible and familiar to me. It’s just wistful and open in such a transparent way. The first time I heard it was immediately after finishing the anime Orange, and it felt super appropriate, like it could be the end credit song for the series. Because of that, it kind of reminds me of high school.

Decatur, or, Round of Applause for Your Stepmother! — Sufjan Stevens

I’ve written before about how I’ve known Illinois for a significant portion of my life. It’s been so long that I have difficulty taking in the songs with fresh ears now. I still shuffle them into playlists, for an occasional pop of nostalgia. When a song like Decatur actually comes on, I can easily ignore it; it’s almost become like wallpaper or something. But from time to time it will strike me how good of a thing I am taking for granted in Illinois.

If I try to remember years back, I recall that Decatur was one of those songs I was intoxicated by for a long time. Fantastic instrumentation that gives such a warm feeling with the lightest touch, and the pulsing pattern of the banjo and accordion keep things lively. But I think what really drew me in is the harmonies. I don’t know who sings the upper line, but their voice in this range has a reedy, complementary color to Sufjan’s that really sets the tone of the song. And I love how even though Sufjan’s line is the melody, this upper voice has more motion. A great technique not often used in vocal harmonies!

Blue — PinkPantheress

Like pretty much all of PinkPantheress’ songs, Blue is short. I like short songs because you can have one really strong idea, get it out, and have pretty much no filler. A good short song is like a little gem or something. Blue is driven by the rhythm section (drums and bass), but it still has an introspective and yearning feeling. Something that moves like a dance track but still demonstrates interiority is a valuable balance to strike.

I also really appreciate the melody of the chorus. On its own, it would be pretty simple; what’s special about it is how it fits into her voice. It’s right around her passaggio, which means there is flexibility in the vocal colors she can achieve in that range. The first time I’m not hangin with ya, she sings the high note (I’m) moderately; on the second one, she sings I’m lightly, because it’s slightly higher, going above the break. On the third one, there is a noticeable bright edge to the color that wasn’t there before. It’s a really nice moment that adds a sense of pathos to the repetition of the line, and in my opinion, it’s actually what makes the song.

womb — Adrianne Lenker

According to last.fm, as of writing I’ve scrobbled womb 256 times, the most of any track since I started using the site. This is one of those songs that has the quality of sunshine. Drop-tuned guitar always feels spacious, and the rhythm and that extra little bippy sound that goes with it make it bright and lively. The sound of this song is like a warm sweater that fits just right, and I never get sick of it.

A few favorite lyrics from it:

Seven wide years and there's soil to till
When you thread your fingers through I feel quite well
…
Dripping your tears like a precious warm spring
My heart will always find you when your heart freely sings

Tenderly — Lenny Breau & Chet Atkins

Tenderly is a standard tune in jazz, but this is the first recording of it I heard. The song has such lovely harmony; the most heart-stopping moment is a ii-V headed toward D♭ major that gets interrupted to go to F minor instead, and the melody hits the 9th of the chord just as it happens. In this version of the song, they don’t do the V of the ii-V, but the effect is still there.

I like to listen to early, vocal versions of jazz standards like this (for example, Sarah Vaughan’s version of Tenderly). It seems like a lot of the later, purely instrumental versions just shred too much, and you don’t even get much of the melody. That’s what I like about the Breau & Atkins version: you get a really clear, lyrical playing of the melody, so it still feels like a song.

This Charming Man (John Peel Session) — The Smiths

This is an alternative recording of This Charming Man which I actually prefer over the original. The original has a little faster tempo, a colder feel, and is more drum-driven. The bass part blends into the drums, for a locked-in, driving rhythm section. In this alternate version, the bass is up more in the mix, and forms this bouncy counterpoint unit with the iconic guitar part, while the drums are back in the mix and kind of relax the whole thing. Everything feels close together and more like a single machine grooving along.

Open Eye Signal — Jon Hopkins

I like how much this song does with a minimal arrangment. The meat of what you hear is drums and bass, with some ambient descants added over top. Sometimes the drum and bass fall back, and other times they come forward to be the main event. The bass synth is super rhythmic, so it feels like a single unit with the percussion. But that rhythm stays pretty consistent (until the bridge section). What really makes the song dynamic and interesting is all the transformations the bass sound goes through.

You are my House — Skullcrusher

From what I’ve heard of them, Skullcrusher seems to do a lot of short songs like this with simple, often single-section structures. That approach to songwriting reminds me of Guided by Voices. There might even some similarity between them in the simple, catchy approach to writing melodies. With You are my House, I think that format works really well: you get a strong idea from two verses of lyrics, and then the third verse (I sink my feet into you...) turns into a chorus that repeats like a mantra, followed by a soundscape instrumental to wind down. I really like the lyrics for this one.

At the Chime of a City Clock — Nick Drake

It’s mostly out of season now, but I love to listen to this song on the first day it snows. It’s cool how instruments layer in as the song goes on: strings get added on the first chorus, then the saxophone on the next verse. Also, I just noticed how the verse is minor and it switches to major on the chorus.

Elise — Jacob Mann

I usually avoid listening to the same track more than once in a single day. But Elise is an exception: I like to listen to it multiple times in a row. The piano part is so pensive on its own, with the syncopated left-hand rhythm gently pushing forward like a paddling canoe. Then we land in the B section with the warm comfy hug of the drum and bass, and everything just flows from there...

A Little Lost — Arthur Russell

This song proves you don’t need much to make a pop song. There’s just a couple instruments and a voice, but I think it’s really the rhythmic elements that keep the arrangement alive throughout the song. If you have a great melody and a catchy rhythm backing it up, that’s all you need! And that definition encompasses so many possible sounds and ways to experiment while keeping the music appealing. I find it exciting.

Tile By Tile — Alvvays

For a while this was my favorite song from Blue Rev, although in the long term it probably couldn’t pass Pharmacist. The harmony really floats around throughout most of the song without much resolution, which I enjoy. I think the rhythms of the melody and the synth play off each other well in the chorus.

Heaven’s on Fire — The Radio Dept.

Listened to this a lot at the end of 2024. I like the busy, washy drums and the optimistic groove. Makes me feel like going places and doing things. It has some of that delicious late 00s feeling for me too.

What If I Found Out — Kath Bloom & Loren Connors

My brother really likes this album and told me about it a while ago. The whole album has this feeling, but this song especially feels so raw and vulnerable that I am moved to tears. I have a lot of respect for music like this because I know that vulnerable quality is not an accident, and it’s not easy to create. I love the lines What if I tell my dreams and you don’t think that they’re so hot? / What if I am naked and you are not?