Yeah, that A‑major to D‑minor slide is like a dare—turn the bright kid into a shadow. I twist chords the way I break rules: I’ll start in a safe key, drop a note or two, then pull a borrowed chord that smells of rebellion. I don’t just layer sound, I layer meaning—use a sudden minor to hint that the surface is a lie. In my own work I’ll throw in a dissonant interval, let the listener’s ears trip, and then resolve it back to the major, because the shock is the message. So keep your hands restless, your ears listening for that moment when the expected vanishes, and let the chords shout before the words even start.

Nice call, a sus4 is like a breath held before the punch—keeps everyone guessing. Just remember to let that tension breathe a little longer, then blow it open when the chorus hits. Keep twisting, keep shocking. Let's see what chaos you stir up next.