Do you remember when me, you, and griphon had our first big disagreement back where someone had to finally come in a say that each one of us were arguing about different things?? I think that was about chord spellings and I explained the difference between labeling one chord one way is very important to theoretical explanation of key. You disagreed by saying there is no difference between an Gb major chord and an F# major chord. If you recall this, I am hardly the person you describe with that post.

Yes I did say that and here's why. Because the whole song section is completely atonal, so there is no right or wrong way to name a chord. F# could be Gb, because there is no definitive key. A major 6th chord could be a minor 7th or vice versa.

My bad and the reason why my chords are labeled as such is because I was trying to link a Atonal chord progression and try to make sense of it in a diatonic structure. To do that I need to write them that way, the absurdness of the names of the chords is equal to absurdness of a chord having a relationship to the next in the chord progression. Because the simple chords looked as random as spit balls on a chalkboard, I enjoyed the challenge of trying to make it make sense even though my efforts did fail. I should have never tried since I knew my efforts would be folly.

Although my efforts did fail to make it tonal, I think the explanation of the simple structure within the chord progression made much sense. Aside for the voicing of several of the chords which would be impossible to make fit.

Maybe the question about the song Christoph wrote should have been what chords are these rather than what analysis can you give for this tune. Although the chords I did write where quite humorous. :)

For sh*ts and giggles, here’s my second analysis of the chord progression:
Fm7(#11)
E+sus4/F
Am(+5)/E
Esus4(+5)
F#sus2(+5)/C#
G7(b5)/C#
Asus4(+5)/B
Asus2(+5)/B
Am(+5)/F
E+sus4/F
C+/B
B6sus4