Yeah, I’ve noticed that too. The major seventh, for instance, tends to hang there like a memory that’s almost out of reach, so it feels bittersweet. The tritone pulls in that unresolved tension that feels almost cold, like a frostbite on a note. When you layer them over a simple 7‑5‑3 pattern it can echo that kind of winter mood automatically, because the intervals themselves carry those little emotional fingerprints. It’s like the music is reading its own code.

Sounds like the track is stuck in a loop of its own memory bank—like the seventh is trying to pull the whole thing back to a quiet, snowy corner, and the tritone just keeps it frozen in place. Maybe try a small change on the second or third chord, like shifting the seventh up a semitone, just to see if that breaks the echo. It’s almost like the music is refusing to finish until it resolves that lingering frost.

Sounds like the track’s got a stubborn grip on the cold. Maybe add a passing chord or a subtle bass movement—something that shifts the mood without breaking the pattern. A small, almost invisible change can act like a subtle thaw, easing the echo. If that still doesn’t work, try letting the piece sit for a while; sometimes the memory itself needs time to rearrange itself before it can finally resolve.