Hipster Harmony

Abstract

This article argues that art-rock groups active since 2000 often use chromatic progressions between seventh chords and other chords of four or more notes in order to differentiate themselves from generic rock styles. These groups introduce chromatic progressions through one of three schemas: altering a recurring diatonic progression (a recurring Roman-numeral progression), exploring the voice-leading possibilities of a recurring chord (a magic chord), and exploring the diatonic and chromatic possibilities of a voice-leading motion (a magic voice leading). When a chromatic progression appears, it functions as a large-scale, tonally undetermined alternation between two chords, or as a substitution for a normative progression. Hybrid syntax occurs where progressions arising from the techniques listed above are juxtaposed with common rock progressions. I analyze instances of hybrid syntax in songs by Dirty Projectors, Deerhunter, Mew, Grizzly Bear, and Radiohead. In these songs, chromatic progressions conspire with lyrics, timbre, and texture to convey otherworldliness or ambiguity, supporting the depictions of unusual personae or situations that art-rock groups favor.