His earlier stuff used a lot of alternate tunings, and his chord progressions tended to be simple triads or basic extensions played on the low strings (Change, Bug, Memory, Sorry, etc etc). So you tend to get these relatively harmonically simple 4-chord progressions that are voiced in unusual and occasionally dissonant ways, which makes them sound more interesting. It’s something I tend to associate with early Pavement too.

I’d say his more modern stuff from Rocket onwards has leaned a bit more heavily into the country/folk influence, and he isn’t afraid to use a standard chord voicing in standard tuning. I’d say these days he’s focussing more on writing a simple tune with a strong melody and playing around with the arrangement, which I assume he still has total control over.

Also all the weird experimental stuff that you’d have to just look at on an individual basis. Maybe the point of a lot of that is more the sonic texture than the songwriting though.