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“Feels Like We Only Go Backwards” by Tame Impala is a psychedelic pop song notable for its dreamy, lo-fi sound and use of unconventional chord progressions. Musically, the song is written in the key of F major, but creatively uses chromatic mediants, borrowed chords, and modal interchange to establish a unique harmony. The song also uses dynamic contrast to create a dreamlike atmosphere, increasing the song’s overall psychedelic effect.

The song “Let It Happen” by Tame Impala, which is in the key of A Major, uses a simple yet effective chord progression during its outro. The common pattern of I-vi-IIIIV (Major-minor-Suspended 4) recurs throughout. The G#sus4 chord provides a moment of tension before resolving back to the tonic and restarting the pattern. The progression concludes with an Emaj7 chord, which is a borrowed chord from the parallel minor.

The chord progression of “Because” by The Beatles demonstrates the band’s profound exploration of harmony. The song starts in the key of C# minor, revolves around this key, and includes various modulations and tonicizations to explore chords beyond the key. It heavily employs secondary dominants and borrowed chords, particularly the diminished 7th chords, which is not uncommon in Beatles’s songs. The chord progression has a dreamy and fluid flow due to these harmonic explorations.

“Ceilings” by Lizzy McAlpine, draws its magic from a mix of interesting chord progressions and different rhythms. The use of added notes in several chords (Cadd9, Emadd9) introduces additional color into the mix, creating a rich and thoughtful atmosphere. The tonality of the song is in G Major, despite the liberal use of the Cadd9 in the progression. We’ll use this tonality for the Roman numerals.

“Roads” by Portishead is set in the key of Am, also known as A minor. In the verse, there is an interesting use of the flat major 7 (Fmaj7) chord. This chord is not typically found within the natural minor key but is considered a borrowed chord from the A major key. Thus, this use of said borrowed chord and its resolution to the E7 dominants gives the song a unique feel, contributing to its mesmerizing and emotive ambience. Portishead tends to blend the use of A minor and A Dorian modality in their music, especially apparent in this composition.

Tame Impala – Feels Like We Only Go Backwards – Verse 1

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Chord Progression

[‘Dm’, ‘Cmaj7/G’, ‘Dm’, ‘G’, ‘Gm’]

Chord Progression Analysis

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– D Minor (vi)
– C Major 7 / G (IV7/2)
– D Minor (vi)
– G Major (II)
– G Minor (ii)

“`Note: The progression Dm-Cmaj7/G-Dm-G-Gm is notable for featuring borrowed chords. G Major (II) is borrowed from the parallel minor key (F Minor) while the rest of the chords belong in the original key (F Major).“`

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Similar Chord Progressions

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1. “Something” by The Beatles – Amaj7 (IVmaj7), Am7 (IV), F#m (ii), G#m7 (iii).
Though not identical, this progression shares the virtue of movement between major and minor variants of the same chord (Amaj7 to Am7, similar to G to Gm in Tame Impala’s piece).

2. “Under the Bridge” by Red Hot Chili Peppers – E Major (IV), B Major / D# (V7 / 3), C# Minor (vi), G# Minor (iii).
This progression has a similar blend of major and minor chords, and the second chord is a major 7th chord over its third, similar to the Cmaj7/G in the given progression.

3. “While My Guitar Gently Weeps” by The Beatles – A Minor (vi), C# Minor / G# (ii/5), D Major (bVII), G (IV), A Major (V), C Major (bIII), E Major (V), F# (IV), B Minor (vi).
This progression shares the chromatic progression from a major chord to a minor chord a step below (G to Gm in Tame Impala’s piece, and D Major to C# Minor in this Beatles’ song).

Musical Analysis

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The continuous shifting between related chords in the given progression evokes a feeling of ‘going backwards’ or movin in circles, thus fitting perfectly with the song’s theme and title. The Major II chord (G Major) being axed to minor (G Minor) marks a significant moment, delivering a poignant ‘payoff’ to the progression that is deeply affecting. This shift also introduces an unexpected texture into the piece.

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Overall Analysis

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Feels Like We Only Go Backwards by Tame Impala uses very interesting chord progressions that convey a feeling of constant motion. The song is primarily in the key of F Major, as revealed by the majority of the chords (F, C, Gm). However, the chord progression in the verse introduces Dm and Cmaj7/G, showing some clever use of modal interchange, also known as borrowed chords.

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Style Analysis

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Tame Impala’s style is a unique blend of psychedelia, rock, and electronica. The use of unconventional chord progressions and modal interchange are hallmarks of psychedelic and progressive rock, genres known for their complexity and willingness to break from traditional pop music structures. This song is a stellar example of that spirit, showing how they manipulate harmony to evoke certain moods and emotions.

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Chords in the Verse 1 section of Feels Like We Only Go Backwards by Tame Impala are:

[‘Dm’, ‘Cmaj7/G’, ‘Dm’, ‘G’, ‘Gm’]