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“Sour Times” by Portishead is characterized by dark, brooding sounds and melancholic melodies that gives the song its distinct feel, largely due to the specific chord progression that is used throughout the song. Written in the key of E major, the song makes use of a diverse selection of chords that offers a wider blend of harmonic options to navigate through different moods and tonal landscapes.

The “Glory Box” by Portishead chorus progression is based in D minor and moves between this primary D minor chord and three other chords: Dm/C, Bm7b5, and Bbmaj7. The Dm/C chord is the same as the D minor, but with a different note in the bass (C). The Bm7b5 is a half-diminished chord. The Bbmaj7 is major seventh chord.

The chorus maintains a feeling of resolution and tension by alternating between the IV (F major) and V (G major) chords, while the vi (A minor) to V/vi (E major) progression provides a smooth transition back to the IV chord (F major).

In terms of borrowed chords, the E Major is a borrowed chord.
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E major (V/vi)
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The piece, ‘1979’ by The Smashing Pumpkins follows an overarching structure with a mix of major and minor chords, what stand out are the rich extended chords, ‘Emaj7’ and ‘Amaj7’. The piece displays a balance between tonic chords and dominant chords, expressing a classic pop-rock style whilst frequent usage of maj7 chords adding a distinctive jazziness to the tune.

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The Beatles’ “Strawberry Fields Forever” is composed in the key of A Major, but utilizes a number of chord extensions and non-diatonic chords to create a dreamy, nostalgic soundscape fitting the song’s theme of reminiscing about childhood.

Portishead – Sour Times – Chorus 2

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Chord Progression

[‘F#m7’, ‘Emaj7’, ‘D#7’, ‘F#m7’, ‘Emaj7’, ‘D#7’, ‘F#m7’, ‘Emaj7’, ‘D#7’, ‘F#m7’, ‘Emaj7’, ‘D#7’, ‘C#m’]

Chord Progression Analysis

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F#m7 (II7), Emaj7 (Imaj7), D#7 (VII7), F#m7 (II7), Emaj7 (Imaj7), D#7 (VII7), F#m7 (II7), Emaj7 (Imaj7), D#7 (VII7), F#m7 (II7), Emaj7 (Imaj7), D#7 (VII7), C#m (i)
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The chords D#7 and Emaj7 can be considered borrowed chords from C# major and C# harmonic minor respectively.

Similar Chord Progressions

A song featuring a somewhat similar progression (though not entirely alike) is “Creep” by Radiohead. Its verse progression of I III IV iv in the key of G has a similar melancholic feel and borrowed chords IV iv from the parallel minor.

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Creep (Radiohead): G (I), B (III), C (IV), Cm (iv)
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Musical Analysis

In essence, the repetition of the II – I – VII progression gives the chorus its unique shade. The F#m7 to Emaj7 involves a common step downward that maintains fluidity. However, D#7 to F#m7 ascension brings tension before the cycle repeats. This progression spotlights the “back-and-forth” dramatic effect which inherently fits the expressive values of the trip-hop genre. And the final C#m re-affirms the root of the song, providing a calming resolution.

Overall Analysis

The song, “Sour Times” by Portishead, is in the key of C# minor. The chord progression of the chorus that you’ve provided swings between three chords (F#m7, Emaj7, D#7) four times before ending on a C#m chord. It suggests a II – I – VII progression in the chorus, which is rare and distinctive in contemporary music genres. This choice of chord progression creates a mysterious, dark, and contemplative mood, characteristic of the trip-hop genre that Portishead propounds.

Style Analysis

Portishead’s style is often categorized as trip-hop, and this song embodies the atmospheric, melancholic nature of the genre. There’s an existential, moody quality to the sound, no doubt enforced by the unusual II – I – VII progression. The use of 7th chords lends a jazzy, sophisticated aura to the music, which blends well with the drum beats typical of the trip-hop style.

Chords in the Chorus 2 section of Sour Times by Portishead are:

[‘F#m7’, ‘Emaj7’, ‘D#7’, ‘F#m7’, ‘Emaj7’, ‘D#7’, ‘F#m7’, ‘Emaj7’, ‘D#7’, ‘F#m7’, ‘Emaj7’, ‘D#7’, ‘C#m’]