Lily Agnes drifts in a quiet orbit on "corduroy boy"--as if she’s thumbing through her own thoughts on the London Underground. Each word steps in like it’s checking its footing, spacing her phrases so silence becomes part of the song.
The intro sets that mood right away--just butter-soft keys, gently phased and stretched wide. The chords hold alone for a few bars before the drums stumble in on a short, tight roll and drop into a padded pulse. That hush stays as Lily begins: “Is it impolite to stare at a fleeting moment of perfection / to look at your reflection, don't know you but I don't care.” Her voice hovers just above a whisper, like she’s humming it to her reflection in the window, not the stranger across the aisle.
The shy notes of Lily's voice flicker like hesitant glances while the melody moves in an easy chug, mimicking the rhythm of the train beneath her. Then Alice Auer slips in on the chorus--a nearly identical source of softness, like two people unknowingly having the same thought at the same time. Their voices curve around each other. catching on different edges when they sing, “Is it worth / going 20 minutes the wrong way? / It’s been so long since I’ve seen a new face / that your big blue eyes might make me late,”
The lyrics keep close to the surface: nervous hands in coat pockets, sidelong glances, the shape of a what-if. That’s the quiet pull of “corduroy boy”--a song about the moment right before a leap that may or may not happen.
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