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I am a Los Angeles-based twentysomething. I have a profession, and I have a secret life in music, and this blog isn't about any of that. I like Blogger because I can't read what you're thinking.

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Tuesday, December 21   >>


I cannot think of another rhythm more pervasive in pop-rock music from the naughts than the one (I'd argue as) premiered by Coldplay's "Clocks."

I'd rank this rhythm as high up on influence as the Amen Break. You hear it everywhere (Fig A., B., C., etc.), and, more shockingly, the rhythm is such an integral part of the pop vernacular that we don't even notice how much it's recycled. I used to be annoyed by its over-saturation, but I learned to embrace it: The fact that so many artists want to capture a piece of this mind-bogglingly huge international hit is pretty endearing, especially when you consider how much shit a band like Coldplay get.

Chris Martin's piano voicings are especially of note. He, like Brian Wilson, often likes to use the third and fifth of a chord as its bass. It's an insanely difficult way to write (well, I think so) -- sort of like building a house from the inside out. This technique also tends to keep a song exponentially more interesting -- as seemingly status-quo as Coldplay are, they don't like to satisfy our typical/programmed needs for solid and expected cadences and tonal finality.

So I guess you could say I like Coldplay.