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Except it’s not in Dorian mode it’s in D minor. There is no melodic content in Dorian mode. In fact, the melody is all chord tones. The tune is not a modal tune at all.
The B in the bass isn’t enough to define it as such, that’s just the dominant of the 2 chord. You see it in tons of minor key tunes, its a hundred times more common than a chord built off (assuming D minor) the Bb.
All of this is why “the key of D dorian” thing is so tilting. It ignores both history and practice. It’s like the red headed stepchild of the worst thing in jazz pedagogy, chord-scale improvisation. Modal music is a specific thing, not a rubric for general analysis.
I listen to this one a ton.
Oh I see your position. You’re using a specific definition of modal as in the music that predated functional harmony tonal music. Chord-scale is something totally different as is the way mode/modal are interpreted in the context of folk and popular music. There are countless reddit threads of people just talking past each other about this and it never goes anywhere.
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Not really, I’m coming from a jazz background here. Modal playing, broadly, is using a mode as the framework of a tune instead of using a set of chord changes.
I’m not saying that pop tunes can’t be said to use modes or be written in a mode but I think the analysis is off base here. The melody is all chord tones. There’s no information to tell you whether it’s aeolian or dorian. The B in the bass doesn’t do it, because every minor key tune for a hundred years that has a 6 chord, its the natural 6 not the flat 6. If it was in dorian mode, that B wouldn’t stick out to like it does. It works because it’s not in dorian mode, not because it is. Maybe a pedantic point I guess but that’s what the internet is for.
Yeah it does. You aren’t looking at this correctly because this isn’t how people analyze modal tonality in popular music. That /B colors everything differently. But it’s not the only B♮ in the track either: it’s also in the lead synth line and there’s an 8-bar section over the IV7. That along with Bb being absent makes it pretty obviously “dorian.” There isn’t some other N-factor test to apply. No one is claiming this is modal in the sense of pre common practice period or Kind of Blue–it’s a different concept entirely.
Again this doesn’t matter and isn’t a test for modal tonality in popular music. You are trying to apply a standard from jazz or classical but that’s not how it’s done for this. For example:
And here’s one “they” consider dorian that’s less convincing than Future Nostalgia. Taken from the /r/musictheory FAQ:
This approach to the diatonic modes plays an important role in rock and other popular styles. For example, both “Another Brick in the Wall” by Pink Floyd and “Stayin’ Alive” by the Bee Gees are in dorian. Both use an alternation between i and IV chords. The i chord is a minor tonic triad, but the major IV chord involves the distinctive feature of dorian, scale degree ♯6.
There is no B anywhere in the vocal line here either. They are mostly going by the i-IV “sound” but the other chords are also built off dorian scale tones. Even I would struggle to characterize this as dorian, but the point is that it doesn’t really matter what I call it because people have already decided what to call it.
Sounds like a Dorian Gray area
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Y’all should at least watch the first half of the Neely video for the Ben Shapiro voice reading he does of an angry Pepe’s tweet who’s triggered over Single Ladies.
Shout out to @JohnnyTruant picture.
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Any time they play locally tickets last like 5 minutes 
Dumping some playlists I made for your listening adventure. Hope you enjoy! They have no direction it’s just some of my favorite jams over the years.
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I’ve been listening to Michael Martin Murphey’s album Cowboy Songs.
One of the tracks is O Bury Me not on the Lone Prairie. I really like what he’s done with the melody and key. Seems a better match for the mood of the lyrics than that other version I’m familiar with as in the Johnny Cash example below.
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Been listening to Amy Winehouse as of late and she was an absolutely amazing singer. Most pop musicians have voices that sound the same to me. Hers was so unique and it sucks that she died so young.
I guess my question is, “Who’s the new Amy Winehouse?”
Heavy Horses is a great album for autumn and nevertheless.
E: Heavy Horses, by Jethro Tull Great article about making of.
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One time at a QOTSA concert we had been drinking a lot of Jager. We were right up front and screamed to play some Kyuss in between every song. Josh was not happy.
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People mentioned Kyuss in the metal thread somewhere and I don’t want to just post vids like OP requested us not to but this is possibly my favorite EP ever. Garcia from Kyuss doing vocals.
