How to Write Black Midi Songs

Warning You are about to enter the labyrinth. If you like tidy song shapes, smooth choruses, and singing about feelings in a linear way, prepare to be delightfully uncomfortable. This guide shows you how to build songs that feel jagged, cinematic, and unpredictable in the way people say Black Midi vibes. I cannot write in the exact voice of a living band. What I can do is give you a detailed, original playbook that captures the high level traits fans connect with. That means rhythms that bite, chords that bruise, arrangements that swerve, and lyrics that sound like someone telling a weird story at 2 a.m.

This article is for musicians who want to write songs that are angular, darkly funny, and structurally adventurous. You will get practical songwriting exercises, production tips, arrangement maps, vocal strategies, and example riffs and progressions that are original and usable. Wherever I use an acronym or technical term I will explain it so no one has to Google during a jam session. Also I will give real life scenarios so you can picture how to apply each technique in the studio or at rehearsal. Ready? Good. Turn your metronome up and then smash it for effect.

What People Mean When They Say Black Midi

When listeners say Black Midi they usually mean a set of high level musical traits rather than one single recipe. Understanding those traits will help you write songs that feel daring and specific.

• Radical rhythm focus , riffs move like tectonic plates. Expect odd meters, sudden meter changes, and polyrhythms. We will explain those. An odd meter means a time signature that is not the standard four beats per measure. Polyrhythm means two rhythmic patterns happening at the same time.
• Texture and dynamics , sounds shift abruptly from whisper to roar. The arrangement is a map of tension and release built from instrumentation and playing style.
• Dissonant and unusual harmonies , chords that squeak and breathe. Think clusters, added seconds, and major and minor clashes used as color rather than mistakes. I will explain chord cluster and modal borrowing soon.
• Free jazz and prog energy , improvisational chaos parked inside a tight compositional frame. Players feel like they are daring each other to do something wild within the song.
• Spoken weirdness , vocals are often more like storytelling or spoken delivery than big belted pop lines. The delivery can be theatrical, unreadable, or slyly comedic.

Quick Glossary

All terms explained in plain speech so you do not have to be a theory nerd to write brave songs.

• Time signature , the numbers at the start of sheet music that tell you how many beats are in each measure and which note value counts as one beat. For example 4/4 means four quarter note beats per measure.
• Odd meter , a time signature that is not 4/4 or 3/4. Examples are 5/4, 7/8, and 11/8. These create unexpected accents.
• Polyrhythm , two or more rhythms played together. Imagine the guitar repeating a five beat pattern while the drums play a four beat groove. They line up only every so often and that tension creates interest.
• Cluster chord , a chord made from notes that sit next to each other on the piano. It sounds dissonant or crunchy and works as texture.
• Modal borrowing , taking a chord from a different mode or scale than the one you are using. It is an easy way to spice harmony without full key changes.
• Motif , a short musical idea that recurs. It can be rhythmic, melodic, or harmonic. Motifs are glue in chaotic songs.
• Topline , the vocal melody and lyrics. Keep the topline strange and clear at the same time for best effect.
• BPM , beats per minute. Tells you the song speed.

Mindset Before You Start

Write with intent. You are not trying to confuse people for confusion sake. The goal is to create music that surprises while still giving the listener something to hang on to. Think of it as a haunted house that hands out tiny pieces of chocolate inside. You will make things unpredictable while planting motifs so listeners feel rewarded when patterns return.

Real life scenario: You are in a rehearsal room with your drummer and bassist. Someone plays a 7/8 groove that makes the room tilt. Instead of panicking, you pick a short riff that sits inside that 7/8 feel. The riff can repeat with slight variations. That repeat becomes the motif fans recognize. When you suddenly switch to a sparse 4/4 section later, the return to the 7/8 motif hits like a callback joke. That is the emotional trick that turns weird into compelling.

Rhythm: The Engine

Rhythm is the main attraction. Start here and everything else will follow.

Begin with a metric idea

Pick an odd meter and own it. Try 5/4 or 7/8. If those feel too intimidating start with a mixed meter phrase like two bars of 4/4 followed by one bar of 3/4. The contrast creates a stumble that sounds intentional.

Exercise

1. Set a metronome at 80 BPM. Count 7 eighth notes per bar and clap a simple pulse. This trains your body to feel the odd meter.
2. Play a bass groove that emphasizes beats 1 and 4 in 7/8. Keep it simple. Let the clarinet or guitar play a six note motif across the bar. Notice how the motif pushes against the bass downbeat.

Relatable scenario

You are producing at home and want something off kilter. Program a drum loop in 5/4 with a kick pattern that lands on beats 1 and 4. Loop a guitar staccato on the first five notes of a scale. The result is an instant head tilt on first listen.

Use polyrhythms for tension

Layering a three over four polyrhythm is one of the most visceral moves you can do. You will hear the two patterns attempt to breathe together and then pull apart. That tug is dramatic.

How to build a simple polyrhythm

1. Play a repeating phrase that is three beats long while the drums keep a four beat bar. For example play three quarter note hits across a single 4/4 bar. The pattern will shift each bar and realign every 12 beats.
2. Use accents and dynamics to mark the alignment points. When the patterns line up, play louder. When they do not, play softer or add a crash cymbal for emphasis.

Tempo changes and abrupt stops

Black Midi like moves that feel sudden. This is not sloppy tempo fluctuation. This is a compositional decision. Plan out tempo halts, accelerandos, and sudden dead stops. Silence is a weapon when used sparsely.

Practical tip

Map your tempo changes before rehearsal. Count how many bars each tempo holds. Use a click track with tempo map if you plan to record. That makes progressive shifts tight without feeling metronomic.

Harmony and Chords That Bite

Harmony in this style leans into color and grit. You will use chords that create dissonance on purpose. Think of chords as characters. Give each section a different cast.

Cluster chords for texture

Cluster chords are built from adjacent scale degrees. On piano play C, D, and E together. The result is a squashed, tense sound. Use a cluster under a vocal spoken line or as a shock to transition sections.

Use case

During a verse that is rhythmically busy, add a cluster hit at the end of every four bars to punctuate the narrative. It will feel like punctuation in a sentence that is otherwise breathless.

Modal borrowing to shift color

Modal borrowing means taking a chord from a mode related to your key. If your verse sits in C minor, borrow an E flat major from the parallel major for a strange lift. It does not have to feel harmonic in a classical way. Think of it like changing the lighting in a room.

Practical pick

Try a progression like Emadd9 to Cmaj7 over a drone. The added ninth creates shimmer while the major seventh gives a bittersweet color. These small colors stack and make the next guitar riff feel dangerous.

Motifs that are harmonic as well as rhythmic

Write short harmonic cells that repeat. Change one note each repetition to create a feeling of mutation. That tiny change is more interesting than completely new chords every eight bars.

Riffs, Leads, and Guitar Textures

Guitar work in this realm is more about attitude and timing than endless shredding. Think percussive playing, angular intervals, and unpredictable effects.

Try intervals rather than full chords

Power chords are too predictable. Use intervals like minor second, tritone, and major seventh intervals as riff material. Play them staccato to make the groove feel brittle.

Pedal point and ground notes

Hold a low note under shifting harmonies. The contrast between a static bass note and moving upper parts creates a spooky center of gravity. This is a classic tension technique that works in odd meters too.

Effects and production tricks

Use reverb plates, amp simulation, and slapback delay. More interesting is removing effects suddenly. A wet guitar that becomes dry at the start of a verse creates intimacy, then the wash of reverb on a chorus gives scope. Also experiment with ring modulator or pitch shifting set to subtle amounts for an off kilter tone.

Bass and Drums: Conversation Not Support

The rhythm section converses. Bass is not just low notes. Drums are a lead instrument.

Bass as melody and anchor

Write bass lines that move melodically in counterpoint to the guitar. Use runs that emphasize the odd meter accents. When you need to center the listener, drop into a simple pattern that repeats for a bar then mutate on the fourth pass.

Drums as punctuation and propulsion

Drummers should practice playing sparse, articulate patterns that place fills like exclamation points. Use ghost notes, syncopation, and offbeat snare accents. Encourage the drummer to treat the kit like a melodic instrument. That is when grooves stop being backdrops and start being the story.

Vocal Approach: Speak, Shout, Narrate

Vocals in this type of music avoid classic pop phrasing. The approach is theatrical, abrasive, and often literate. The vocal is another texture, sometimes mixed low so it becomes part of the arrangement.

Delivery choices

• Spoken word delivery for narrative verses
• Angular, dissonant melodic lines for hooks
• Sudden shouted phrases for punctuation
• Layered whispers for eerie moments

Exercise

1. Write a short story of 60 words about a minor crime or odd job. Read it aloud like you are confessing. Record multiple takes with different emphases. Pick the take that feels both confident and unhinged.
2. Turn one strong line into a sung hook. Keep the vowel open on the strongest syllable. That line will be the chorus anchor.

Lyrics: Strange Stories and Small Details

Lyrics in this space often read like fables told by someone who drank a liter of espresso and then got into an argument with a dictionary. The trick is specificity. Make small vivid details ring true while the overall narrative remains ambiguous.

Write scenes not summaries

Instead of saying I am angry, show a scene. For example describe the protagonist rearranging teethers in a hardware store at midnight. The image is weirder and more memorable than simple emotion naming.

Use repetition and slight variation

Repeat a line with one changed word to suggest development. That callback feels like a reveal and is easier to track in wild arrangements.

Real life scenario

You write a verse describing a couple arguing about wallpaper pattern. In the pre chorus the wallpaper becomes a symbol for their history. In the chorus you repeat a simple line about the wallpaper ripping at one corner. The repetition makes the wallpaper a character. That specific domestic detail is more interesting than a universal statement about heartbreak.

Arrangement Maps You Can Steal

Below are reusable structure maps. Treat them like scaffoldings. Replace the scaffolding with your instruments and motifs.

Map A: The Swerve

• Intro: Percussive motif in odd meter, low drone
• Verse 1: Spoken or half sung, sparse guitar clusters
• Pre chorus: Build dynamics by adding bass motif and ghosted cymbals
• Chorus: Full band in a contrasting meter, loud cluster hits
• Bridge: Free improv section, slow to sudden stop
• Final chorus: Return of motif with altered harmony and vocal doubling

Map B: The Tension Arc

• Cold open with a motif repeated three times
• Verse: Minimal arrangement, focus on rhythm and words
• Explosive section: Polyrhythmic interplay, irregular fills
• Quiet breakdown: Solo voice and single instrument with cluster drone
• Climax: Sudden tempo doubling for three bars then collapse to silence
• Outro: Motif returns altered and slowed down

Production Tips That Make Chaos Sound Deliberate

Recording messy music can lead to an actual mess. Use production choices to keep intentionality intact.

Capture separation

Record instruments with clean mics and then experiment with panning and reverb. You can make sections feel intimate by moving the guitar close in mono and then explode wide on chorus with stereo delays.

Use dynamics processing tastefully

Compression can kill the breath that makes a performance human. Use light compression on vocals and drums. Automate volume so whispered parts are audible and then slam the compressor during loud hits for power.

Embrace lo fi for certain parts

Some sections benefit from tape saturation, distortion pedals, or a cheap microphone. That grit can feel cinematic when placed next to clean parts.

Mixing for Clarity in Complexity

Mixing songs with dense arrangements is a craft. The mixer must make each important idea audible at the right moment.

Frequency carving

Give each instrument its own frequency space. Use subtractive equalization to remove competing frequencies rather than always boosting. For example, if a guitar and vocal fight at 1.2 kHz, attenuate one and boost the other at a complementary range.

Automate to highlight motifs

Automation is your friend. Raise the volume of a motif when you want the listener to notice it. Lower supporting parts to reveal a spoken line. Automation makes rearranged space feel natural rather than artificial.

Practical Songwriting Exercises

One Motif, Four Moods

Write a five note motif. Play it in four arrangements. First as an aggressive electric riff. Second as a soft piano figure. Third as a brass stab. Fourth as a drum cadence with the guitar humming under it. Each mood will reveal new possibilities.

Mixed Meter Jam

1. Set a loop of 4/4 for eight bars then switch to 7/8 for two bars.
2. Jam with a one minute timer, changing instruments whenever the meter switches.
3. Record everything. Pick the best 30 seconds and write a short vocal line over it.

Story Drill

Write a 120 word story with a small twist ending. Turn the final sentence into a chorus line. The chorus should be the emotional payoff that rewrites how the listener hears the verse.

Song Templates to Start From

Use these templates to stop staring at the void and start building.

Template 1: The Short Shock

1. Intro: 4 bars motif in 7/8
2. Verse: 8 bars spoken
3. Chorus: 8 bars full band in 4/4
4. Short Solo: 8 bars improvisation
5. Final Chorus: 12 bars with extra repeats and harmony

Template 2: The Long Haul

1. Opening tableau: instrumentation introduces 3 motifs
2. Verse 1: 12 bars, slow tempo, sparse rhythm
3. Build: add polyrhythm and noise for 16 bars
4. Climax: improv noise for 24 bars
5. Resolution: motif returns in a different key or meter

Common Mistakes and How to Fix Them

• Too much chaos , If listeners cannot find a repeating idea, add a motif. The motif is what they will hum later.
• Overproducing the weird , Keep one raw element. A single dry vocal or a raw guitar can anchor the track emotionally.
• Rhythmic sloppiness , Rehearse odd meters slowly. Use a click track and subdivide beats. Accuracy makes the weird convincing.
• Lyrics that are baffling for baffling sake , Balance weird imagery with at least one human detail per verse.

How to Rehearse This Material Efficiently

Rehearsing experimental songs can drain band morale if you do not structure it. Use short focused runs and mark exact transition cues.

Practice plan for a three hour session

1. 30 minutes: Run motif and meter drills with metronome
2. 45 minutes: Work section by section, fix transitions between meters
3. 30 minutes: Record a live run to understand dynamics
4. 45 minutes: Improvise within the structure and pick promising parts
5. 30 minutes: Pick one section to tighten and finalize the head arrangement

Performance Tips

Live, the energy sells the complexity. Make sure you communicate cues visually. A nod or a drum hit can serve as a conductor moment in a song with tempo changes.

Tip

Use a small foot cue. If necessary, put a visual marker on floor tom or hi hat for the band. It is not cheating to give your bandmates a lighthouse when the sea gets rough.

Before and After Examples

Here are two short before and after rewrites to demonstrate sharpening an idea into a vivid image.

Before: The town felt empty.

After: The bus stop kept its loneliness like a coin between cracked tiles.

Before: He left without saying much.

After: He unplugged the lamp, left his mug warm, and walked out with socks on the wrong feet.

Finishing and Releasing

When a song feels chaotic and alive, stop editing. Too much polish can drown the original spark. Record multiple live takes and pick the one that still has small mistakes. Those small errors are often where character lives.

Distribution tip

Release an edited single version for playlists and a live extended version for fans who love the improvisational chaos. That strategy gives you both accessibility and authenticity.

Action Plan: Make a Song in Two Days

1. Day one morning: Choose a motif and an odd meter. Spend two hours jamming grooves and record everything.
2. Day one afternoon: Pick a 90 second section that feels good. Build a verse and a chorus using the same motif.
3. Day two morning: Add contrasting section in a different meter. Write lyrics from a small scene and a repeating line for chorus.
4. Day two afternoon: Record a live take with the whole band. Mix lightly. Choose the take with best energy rather than technical perfection.
5. Bonus: Share the demo with two friends and ask which line stuck. Use that feedback to sharpen the chorus line.

FAQ

Can I copy Black Midi exactly

No. You should not copy another artist exactly. This guide helps you adopt high level traits and original techniques that produce music with similar adventurous spirit while remaining your own creator. Think of inspiration as a filter, not a photocopier.

What time signatures should I start with

If you are new to odd meters start with 5/4 or 7/8. They are challenging but manageable. For a more staggered feel try mixing 4/4 and 3/4 in a repeating pattern. Always practice slowly. Subdivide your beats and count out loud. Counting lets you feel the pattern instead of guessing.

Do I need advanced theory to write these songs

No. You need curiosity, a basic knowledge of chords, and the willingness to experiment. Learn the names of the chords you use and practice interval shapes on your instrument. That is enough. Most interesting choices come from listening closely and iterating.

How do I keep listeners engaged if my songs are so chaotic

Plant anchors. A short motif, a repeated lyrical line, or a drum figure that returns gives the listener a place to land. Use contrast. If everything is extreme the extremes cancel each other. Make quiet moments count and loud moments mean something.

How should I record these songs at home

Record clean DI bass and guitar so you can reamp later. Capture room mics for live energy. Use a click track that follows your tempo map. Keep one raw vocal take and one produced take. The raw take often contains the emotion that slick production can erase.

What instruments help create this sound

Any instrument can work. Common choices include electric guitar with angular playing, bass with melodic movement, drum kit with dynamic playing, sax or trumpet for unusual textures, and piano with cluster chords. You can also use synths for drones and samples for percussive hits.

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