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Ha, while I was thinking about bridges earlier today, I briefly considered an alternate reality in which instead of going solo after Y Kant Tori Read, Tori became an industry writer who was brought in on other peoples' sessions as a specialist in fixing the problem of "this song has two parts, but should have three", had a solid 8-10 year run of cowriting credits, then got forced into retirement by Swedish Math.
― New York Review of Wooks (swim), Friday, 8 October 2021 03:11 (five minutes ago) bookmarkflaglink
Yeah! "Tear In Your Hand" is always the go-to example for me, the way it appears to start as a fairly conventional post-Elton John pop song and gradually, almost imperceptibly becomes more ambitious and complicated: the way the melodic shifts are so intimately locked into the shifts in the lyrics (e.g. "maybe it's time to wave goodbye now" or "I know, I know you well - well, better than I used to...") as well as into each other. Until you realise that she's also picking up (consciously or otherwise) on the compositional ambition of Rickie Lee Jones' "Living It Up" and "Pirates (So Long Lonely Avenue)" but replacing the vertigo of those tunes with a kind of sweep-of-inevitability, more convertible sports car speeding through the Alps than rollercoaster.
― Tim F, Friday, 8 October 2021 03:29 (two years ago) link
I never even noticed the uneven beats in the bridge of "Hotel"! The rhythmic displacement in this song that I always loved was her phrasing of "I guess that what I'm seeking, guess that what I'm seeking...isn't here."
a profusion of new melodic sections and overlays
"Almost Rosey" on American Doll Posse is the song of hers I always think of this way. Each new section introduces rhythmic, harmonic and melodic ideas to the song to increase its intensity; it's like a series of bets being laid down, and she wins each one.
― Halfway there but for you, Friday, 8 October 2021 15:30 (two years ago) link
one year passes...