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“Sour Times” by Portishead is largely written in the key of C# minor, with elements of modal interchange and chromaticism that contribute to its haunting, dark sound. The song exhibits a remarkable amount of harmonic complexity and non-diatonic harmony, which is a defining characteristic of the trip-hop genre. The piece makes use of intricate inversions and chromatic voice leading, along with a frequent use of sevenths and diminished chords for added tension.

“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.

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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Radiohead’s “Fake Plastic Trees” is an alternative rock ballad from their 1995 album, “The Bends.” The moody and atmospheric track is characterized by its emotive vocal delivery, contrasting dynamics, rich arrangement, and engaging chord progression. This progression, in particular, features an interesting mixture of diatonic and borrowed chords that create a sense of tension and resolution throughout the piece.

The song ‘Zombie’ by The Cranberries is in the key of E minor. Its defining characteristics include plaintive repeated melodies, an intense grunge-inspired arrangement, and Dolores O’Riordan’s iconic vocal embellishments. The song employs a common rock/pop chord progression with added tension by using the D/F# chord.

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’]