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The High Llamas are (among other things in my estimation and enjoyment of Sean O'Hagan's music) the kings of wonderful repetitive codas that make the already wow songs soar to an ever higher level. See: "The Hot Revivalist" from "Hawaii" (1996), "The Sun Beats Down" from "Cold and Bouncy" (1998), "Bach Ze" from "Snowbug" (1999), "Jackie" from "Here Come the Rattling Trees" (2016) et al.
https://www.youtube.com/watch?v=v2FKlK06IpQ
David Sylvian's band Japan used the elongated, repetitive coda to great effect, too - see the title track for "Gentlemen Take Polaroids" (1980).
― Max Florian, Monday, 12 April 2021 11:16 (three years ago) link
NIN have some great long codas - Closer, We're In This Together...
― chap, Monday, 12 April 2021 13:06 (three years ago) link
I love this thread! I'll add a few more:
Led Zeppelin's "Carouselambra" ends with this awesome disco/mechanized synthy-bass motorik that is unlike anything they'd ever done. In an alternate universe, just that section of the song would have been an amazing lead single for In Through The Out Door (imagine the reactions of the rock literati!). I'm not sure if we're allowed to count the final section of a proggy 10-minute track as a "coda", but it's doubtful the Zeppelin viewed the song as some Tales From Topographic Oceans-style suite (Also, JPJ was too busy holding down the low end to pull a Wakeman and have a full dinner delivered to his Yamaha GX-1 during the slow, trippy middle section).
Franz Ferdinand's "What She Came For" has this rowdy '60s-garage meets thrash-metal coda that would be the perfect closer for every live performance, whether the band on stage is Franz Ferdinand, or, hell, anyone else.
Self Esteem's "You Wife" goes from percussive intro to "Faith"-intro church organ to mid-'90s hyper-melodic "Alternative Nation" breeziness, ending with a goth-adjacent left turn that answers the question, "What if Enya was asked to score a horror movie?".
Muna's "Never" begins like a modern recasting of Bonnie Raitt's "I Can't Make You Love Me", then follows Dramatic Pause #1 with a heavy 4-on-the-floor beat & ascending 16-note synth pattern, before Dramatic Pause #2, which leads to the appropriate synth-guitar tradeoff theatrics, like the best moments of Rush's "Power Windows" all rolled into one glorious minute.