Sharkissimo

I like Dylan too, although admittedly I'm not so keen on the Cult of Dylan, that like an overgrown tree, cuts out sunlight to other equally worthy songwriters, who for all their talent aren't as adept at the art of personal myth-making as he is.

Just to add my interpretation to @Loert.'s - At the heart of this movement is a bitonal tug-of-war game between B minor and it's dominant, F# Major. Neither key centre quite wins out, and at the closing measures in a masterstroke of compositional of guile, Poulenc reinterprets the F# as the dominant of B Major, forming an elegant Picardy cadence. The chord you highlight is a G#7#9, which is just the II7 chord in F#, spiced up with a Stravinskian false relation. Note that we've been primed with the genuine article, a G#m, at :09, so when this more colourful chord arrives it feels so

Yes

Or alternatively... 📖🔥

🏋️💿🕺🚴💺🍆🪓

Stargate

Yes! I was in a state of hysteria, you know.

🏃👴🏼🔒 ❓ 🦷 😫 💎

💎👴🏼 ❓ 🔒

Heartbeeps

Is it set underwater?

^ See?

You succeeded in doing what I only tried.

I've been on a Sylvian/Sakamoto/Japan deep-dive for the last few weeks, although I've already been familiar with his music for some years. Mick Karn's singular sound was essentially the reason why I took up fretless (well him and Jaco Pastorius's work on Hejira). There was a time when I found David 'wish-I-Scott-Walker' Sylvian's glutinous voice grating, but I've come to appreciate it, warts and all. Tin Drum might be Japan's masterwork, but Gentlemen Take Polaroids is still the album I revisit most often--Swing in particular. As much as I love the original, ther