How to Write Dunedin Sound Songs

You want songs that sound like they were recorded in a cold seaside town with an amp turned up and the heater off. You want jangly guitars, humble production, melodies that hook like a magnet, and lyrics that feel both mournful and mischievous. You want a sound that says I am small but I will outlast your playlist. This guide gives you the songwriting rules, the production tricks, and the ridiculous little rituals that will let you write Dunedin Sound songs people will swear were made in the 1980s even when they were recorded in your bedroom at 2 a.m.

Everything here is written for busy musicians who want results. We explain jargon and acronyms so you do not feel like you need a music degree to read this. We give hands on exercises, real world examples, and a step by step plan you can apply today. Expect tips for guitar tone, melody craft, lyrical themes, arrangement, cheap gear, and how to make tape hiss sound like a production choice and not an accident.

What is the Dunedin Sound

The Dunedin Sound is a musical movement born in Dunedin, a coastal city in New Zealand, in the late 1970s and early 1980s. It is not a single genre. It is a set of shared aesthetics and attitudes. Bands like The Clean, The Chills, The Verlaines, The Bats, and Straitjacket Fits made music that felt simultaneously intimate and wide open. The records often sound breezy and fragile. They also have big hooks and stubborn melodies.

The term is tied closely to Flying Nun Records. Flying Nun is an independent record label started by Roger Shepherd in 1981 in Christchurch, New Zealand. It helped release records by many Dunedin acts. When you say Flying Nun you are referencing a label and a cultural movement that prioritized creativity over polish.

Key characteristics you should know

• Jangly guitar textures that ring out and slip into reverb
• Clean to slightly overdriven amp tones with chorus or slapback delay for shimmer
• Lo fi production values that emphasize mood over technical perfection
• Melodies that are hook forward and singable
• Lyrical themes that mix small town observation, melancholy, wry humor, and romantic ache
• Rhythms that can be loose yet infectious

Why the sound still matters

Millennial and Gen Z listeners love authenticity. The Dunedin Sound feels authentic because it sounds like people trying hard to make something honest with limited resources. In 2025 you can replicate that spirit without sounding like a parody. You can use modern tools to make things feel vintage while keeping clarity for streaming platforms.

Core sonic ingredients

Know the palette before you start painting. These are the tools and effects that give Dunedin Sound its fingerprints.

Jangly guitar

Guitars that chime. Think Rickenbacker like sparkle but also single coil Telecasters played with bright amp settings work fine. The idea is clarity and ring more than heavy distortion. Use open chords, arpeggios, and chiming double stops. Small amounts of chorus or slapback delay make notes bloom. If you hear a tone that could soundtrack a seaside sunrise, you are close.

Lo fi aesthetic

Lo fi means lower fidelity. It refers to recordings that include tape hiss, room noise, imperfect takes, and sometimes odd EQ. It does not mean sloppy songwriting. It means texture. You can create lo fi intentionally by recording with one mic, using a cheap interface, or adding a subtle noise layer. The trick is to let imperfections serve emotion instead of hide them.

Reverb and space

Use room sounding reverb and plate style reverb to give the mix atmosphere. Short to medium reverb times tend to work best. Avoid cavernous reverb unless you are making a drone track. Reverb becomes a glue that makes sparse arrangements feel cinematic.

Melodic bass and simple drums

Bass in Dunedin songs often plays melodic lines rather than just root notes. Drums are usually uncluttered. Use brushes or light stick work for verses. Let drums breathe instead of filling every space. That open pocket gives guitars room to ring.

Songwriting principles that fit the sound

The Dunedin Sound is a songwriting friendly environment. Use economy, specific detail, and melody first thinking. Below are practices that will help you write songs that feel correct and natural.

Start with a clear emotional premise

Write one sentence that captures the feeling. Keep it small and visual. Examples

• I am walking home in cold light and I remember the way you left.
• We dance badly in a hall that smells of damp coats and hope.
• My town rewinds every memory like a scratched record and I am okay with that.

Turn that line into a title or a repeated phrase. The Dunedin aesthetic rewards tiny, repeating anchors that feel like a personal signature.

Melody first or guitar first work equally well

Some writers pick a jangly riff and sing over it. Others hum a melody and then find chords. Either approach is fine. If you start with melody, sing on vowels, record a two minute pass, and mark the phrases that want repetition. If you start with guitar, focus on arpeggio shapes and let the melody weave above the pattern.

Simplicity and space

Resist the urge to explain everything. Use small images. Let a line breathe. The magic is often in what you do not say.

Chord progressions and harmonic choices

Many Dunedin songs use simple chord motions. Familiar progressions give melody space to shine. Here are reliable palettes.

• I IV V I. Classic and open.
• I V vi IV. A modern pop friend that works beautifully with jangly strumming.
• I vi IV V. Melancholy tilt that resolves with optimism.
• Modal moves. Borrow a chord from the parallel minor for a lift into the chorus. For example if you are in C major borrow an A minor or an E minor depending on the mood.

Play progressions with open voicings and let the top strings ring. Try adding suspended chords for shimmer. Sus2 and sus4 can sound youthful and slightly unresolved which is ideal for this style.

Topline and vocal approach

Vocals in Dunedin songs sit comfortably between intimate and urgent. They are not shouty. They are often conversational with one eye on melody and one on emotional honesty.

Melodic shape

• Keep verses in a lower range. Let the chorus lift by a third or by expanding range.
• Use small leaps. Big dramatic jumps are fine occasionally but the style favors singable, hummable lines.
• Add a melodic hook in the guitar that mirrors the vocal hook. That creates a memory link.

Delivery and phrasing

Sing like you are telling a secret to the person next to you at the back of a greasy spoon cafe. Slightly behind the beat in places can make the performance feel lived in. Little breaths and phrase breaks give character. Double the chorus with a slightly brighter pass for impact on a recording.

Lyric themes and phrasing

Dunedin lyrics often sit in a space of small town observation, bittersweet romance, self reflective rumination, and dry humor. They are not overly metaphysical. They prefer concrete images over abstract generalities.

Write in camera shots

Instead of telling the listener you feel lonely show a scene. Example Replace I am lonely with The laundromat plays a song I used to hate. I wait until the tumble stops to count my pockets. That gives detail and texture.

Use local color

Small place names, a bus number, a wet bench, a cold bus shelter. These details make the song feel rooted and real. You do not need a famous location. A local cafe name or the color of a streetlamp works better than a global landmark.

Balance melancholy with wry lines

One straight heart ache line and one wry observational punch will make the song human. Example If the chorus is I watch you go, the verse can say you left your umbrella again and the city took it for a taxi ride.

Arrangement and dynamics

Dunedin arrangements usually build by adding textural layers rather than by piling on heavy instruments. Think telescoping rather than bulldozing.

• Start sparse. A clean guitar and voice in the intro can be enough to hook the listener.
• Add bass and light drums on verse two. Keep the pocket loose.
• Use a small textural lift for the chorus. Add a second guitar doubling the vocal or add a ringing arpeggio.
• Use breakdowns and brief stops to make the return of the chorus feel like a relief.

Countermelodies and harmonies

Use a simple countermelody in the final chorus. Two part vocal harmonies a third above the lead on key lines create emotional payoff without sounding overproduced. Layer guitars with slightly different attack or reverb settings to create stereo width and a living feel.

Drum and bass pocket

Drums are not about showmanship in this style. They support the song and provide modest propulsion. Avoid over quantizing your drum parts. Slight timing variations are part of the charm.

Groove tips

• Kick on one and three or a subdued backbeat. Keep fills short and purposeful.
• Snare should be slightly back in the mix and not overly compressed. A bit of room snap works great.
• Use brushes or lighter sticks for verses. Switch to sticks for a fuller chorus.

Bass lines

Play melodic bass lines that move between root notes and passing tones. Try doubling a vocal motif an octave lower in some bars. The bass can be a secret melodic anchor if you let it breathe.

Guitar tones and tricks

This part is where things get fun. You do not need expensive gear. You need choices that create a specific shimmer.

Guitar choice

Single coil pickups like on Telecasters and Fender style guitars are classic for this sound. Twelve string guitars and Rickenbacker style models add natural chorus. If you have a single coil guitar use bridge pickup for clarity and roll the tone back slightly for warmth.

Amp settings

Set your amp to clean to slightly crunchy. Increase treble for sparkle. Add a little reverb. Do not max out gain. The goal is chime not roar.

Pedals

• Chorus. Use a subtle chorus on indie clean setting to get that 80s shimmer.
• Delay. A short slapback delay or dotted eighth delay with low feedback can give rhythmic depth.
• Overdrive. Light overdrive for edges. Avoid heavy distortion.

Recording trick

Blend a mic on the amp with a DI split to capture both amp character and string clarity. Pan a slightly different take left and right for a wide, jangly stereo image. Capture a room mic to add natural ambience when needed.

Production with intention

Production choices in Dunedin music feel intentional but modest. The records sound lived in. Your job is to make choiceful decisions that highlight song rather than slickness.

Create tasteful tape vibe

Use tape emulation plugins or gentle saturation to warm the overall mix. Add a subtle noise bed to mimic tape hiss. Keep it subtle so it reads as atmosphere rather than masking problems.

Vocals in the mix

Keep vocals forward but not over compressed. Use parallel compression if you want weight without losing dynamics. Add a short reverb and a slapback delay to sit the vocal in the space. A light double in the chorus with slight pitch variation adds charm.

EQ and balance

High pass instruments that do not need low end. Keep bass tight and punchy. Avoid over brightening guitars. The sound should be lively but not brittle.

Gear on a budget

You do not need to break the bank. Here are affordable essentials with alternatives and why they matter.

• Guitar. Any well set up single coil guitar or a twelve string copy. Many cheap guitars sound great when setup properly.
• Amp. Small tube combos or small solid state practice amps. Use a small mic like an SM57 and a room mic for depth.
• Interface. A two input USB audio interface is enough for demos.
• DAW. Free and low cost digital audio workstations are fine. Your songwriting matters more than the software.
• Plugins. A chorus plugin, a tape emulator, a quality reverb, and a delay are the main tools.

Real life scenario

You record a guitar in your bedroom with a small practice amp. The neighbors complain. You put a blanket over the amp to tame the highs. You use a cheap interface and a single mic. The take is a little noisy. You embrace the noise, add a tape emulation, and the track now sounds like it was recorded on purpose in a windy little room near the sea.

Demo to release workflow

1. Write the song and lock the core melody and title.
2. Record a simple guitar and vocal demo. Do not obsess about the perfect take. Capture vibe.
3. Build a basic arrangement with bass and drums. Keep parts modest.
4. Layer a second guitar with chorus or a twelve string and add a room mic for ambience.
5. Mix with restraint. Use subtle saturation and quiet reverb. Leave space.
6. Export a test and play it on small speakers and headphones. Make small edits. Stop before you overcook it.

Songwriting exercises for Dunedin style

The Streetlight Drill

Walk outside at night or imagine a streetlight. For ten minutes write five lines that place a single small action under that light. Each line must include a specific sensory detail. Use these lines to create a verse.

The Jangle Riff Loop

Make a two chord loop and play a jangly arpeggio for two minutes. Sing on vowels over it and mark melodic gestures. Pick the most repeatable gesture and build a chorus around it. Keep words conversational.

One Line Swap

Write a chorus and then rewrite the chorus five times, changing only one line each time. Keep two lines constant. You will find the version that gives the best emotional twist.

Before and after lyric edits

Before: I miss you when you are gone and I feel sad.

After: The bus keeps your jacket for three stops and I count each one like a small tax.

Before: We used to meet at the cafe and talk about nothing.

After: You left a lipstick ring on the saucer and the waiter calls it art.

These edits move from abstract confession to concrete, slightly odd images that make the listener feel present in the scene.

Common mistakes and fixes

• Too much polish. Fix by reintroducing a take with slight timing or tonal imperfection and letting it sit under the main vocal to add warmth.
• Over complicated arrangements. Fix by muting one instrument at a time until the song still works. Add only what increases emotional clarity.
• Vague lyrics. Fix by replacing abstract words with a small object and an action.
• Flat guitar tone. Fix by adjusting amp treble, adding a chorus, or reamping a DI through a cleaner amp setting.

How to make your song sound authentic and not like a tribute

Tribute happens when you copy tropes without personal detail. Keep the sonic ingredients but use your own stories. A song that uses jangly guitars and reverb but sings about something modern like late night food delivery and the glow of a phone will sound original. The key is to combine the aesthetic with your own narrative voice.

Performance tips

When you play live keep dynamics. Start quieter and let songs grow. Use a little delay on your guitar for the live room to feel larger. Sing to a single person in the audience. That intimacy transfers to the whole room. Practice slightly imperfect takes so you learn to trust timing over metronome perfection.

Action plan you can use today

1. Write one sentence that states the emotional premise. Make it a small image like a coat left behind or a wet bench.
2. Make a two chord loop on a jangly guitar. Play an arpeggio and sing vowels for two minutes. Mark the best melodic gestures.
3. Turn the best gesture into a chorus line. Keep the chorus short and repeat the title at least once.
4. Write a verse using the Streetlight Drill. Use one strong sensory detail per line.
5. Record a quick demo with guitar and voice. Keep the take imperfect. Add a bass and light drums for verse two. Double the vocal on the chorus with a brighter take.
6. Mix with restraint. Add small chorus to a second guitar and a short plate reverb on vocals. Embrace slight tape warmth.
7. Play the song for three people. Ask what image they remember. If they recall your chosen image you have clarity.

Resources and influences to study

• The Clean. Listen to their loose energy and sparse production.
• The Chills. Study melody work and bittersweet lyric lines.
• The Verlaines. Examine lyrical density and unusual chords.
• The Bats. Notice interplay between guitars and the gentle drum pocket.
• Flying Nun Records catalogue. A crash course will give you texture references.

FAQ

What does Dunedin Sound actually mean

It describes a scene and an aesthetic that came out of Dunedin and surrounding areas in New Zealand around the early 1980s. It is marked by jangly guitars, lo fi production, melodic songwriting, and emotional directness. The label Flying Nun helped popularize many of the records that define the sound. It is as much about attitude as sonic choices.

Do I need vintage gear to make a Dunedin Sound song

No. You can use modern gear and emulate the tones. A simple single coil guitar, a clean amp setting, a chorus effect, short delay, and a basic room mic setup will do the job. Many modern plugins replicate tape warmth and analogue chorus very well. The important things are arrangement, melody, and choiceful imperfections.

Is lo fi necessary

Lo fi is part of the aesthetic but it is not mandatory. The feeling of lo fi can be created with small production choices without sacrificing clarity. Use subtle saturation, room mics, and minimal editing to keep the vibe. If the songwriting is strong a polished recording can still carry the spirit if you retain the small imperfections and live feel.

How do I write lyrics that fit the style

Keep lyrics visual and local. Use small actions, object detail, and a mix of humor and melancholy. Avoid long metaphors. Put the camera on a single small scene and let the song unfold there. Repeat a short title phrase to anchor the song.

What guitar pedals are essential

A chorus pedal, a short delay like a slapback, and a mild overdrive are the core tools. If you want tape style warble you can add a tremolo or a subtle pitch modulation effect. Keep pedal use tasteful and avoid heavy compression between guitar and amp.

How should I approach vocal production

Record a clear lead and at least one double for the chorus. Use a short reverb and a slapback delay. Keep compression gentle to preserve dynamics. Add a second, brighter pass that sits slightly behind the main vocal for harmonic air. Let breaths and small noises stay if they feel honest.

Can this style work with modern pop production

Yes. Many modern artists blend jangly guitars and lo fi textures with contemporary beats and synths. The key is to respect space in the arrangement and keep melodies front and center. Use modern production techniques to give clarity while preserving the aesthetic.

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