Ten per-song analysis sheets, rebuilt from vetted sources (Songsterr GP charts, audio-truth models, and stem analysis), one distinct thesis per song, one syllable per note. Eight were rebuilt fresh in this restart; two carry an earlier grade. Each claim traces to a cited source, never to roster notes.
D-mixolydian verse, the F♯-to-D-major turn, a B♭ chorus and an Am/E bridge.
One rhythm voicing (G+A+D, no third) through a I-to-♭III bass; the bass alone decides the chord, the voice supplies the third, the cadence lands it in the bass.
A song that lives on its own dominant (B♭ surface over an E♭ center), a chromatic ♯4, a parallel-minor flip, and a ♭VII outro that never resolves.
A third-less C5 over a tritone bass walk, the voice falling F-E-D-C, a flat-side "opens up" refrain, and a "dance Lazarus arise" call over an A♭maj7 glow.
A third-less F engine (C-E♭-F) while the voice reaches A♮ on the word "for," the major third the band withholds; six sections, GP + stems.
A hidden-root first-inversion intro, a B♭-to-A♭ whole-step rocker, a chromatic C♯ chorus under a held B♭, and an outro on D, a tritone from home.
A vocal D that recolors as the chords move (3rd, 9th, root), a major/minor third flip via B♭ and B♭m, and a dominant-framed third-less close.
A root clamp into flat-side movement, resolving on a late shared D.
An E pedal with a contested third: the voice sings G♯ then G♮, the chorus stacks both at once, and the song walks off to G/D instead of choosing.
The album closer in A♭ major/Lydian with a rootless hidden tonic, the voice spelling M3/M7/9, a ♯4 brightening, a V chorus, and an A♭↔Cm vamp that won't end.