An example - Good Life by Inner City:
The repeating progression here is (as I hear it) bm7 - f#m7 - am7 - em7.
Whilst not a standard diatonic progression, the consistent use of this one chord type maintains a sense of... er... consistency.
I have noticed that many songs and even whole styles of music can be characterised by their use of certain types of chord (and avoidance of other types of chord). Blues, for example, is associated with the dominant 7th, used (rather like my example above) in a way not fully consistent with standard diatonic/functional harmony.
Are there music theory terms for the size of 'vocabulary' of chord types used in a song, or the deliberate restriction of that 'vocabulary'? (Especially as doing so seems to be an 'excuse' for straying from the diatonic scale, and other ways of deviating from the diatonic do have names...)