A Quote by Bryce Dessner
In terms of the music, it feels almost like trouble's a good thing - you never know when a song is going to surprise you. We look for these subversive moments in songs.
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It feels good, you know. It feels like you're out there, you know, doin' your own thing, know what I'm sayin'? It's like, people can't really compare it to anything, and that kinda feels good. It opens me up to a lot of different arenas, a lot of different type of situations, you know like Tony Hawk will call. You know what I'm sayin'? I can just image if my songs was about shootin' up, and like sellin' cocaine, I doubt Tony Hawk would be callin' you know?
The thing that will never go away is that connection you make with a band or a song where you're moved by the fact that it's real people making music. You make that human connection with a song like 'Let It Be' or 'Long and Winding Road' or a song like 'Bohemian Rhapsody' or 'Roxanne,' any of those songs. They sound like people making music.
I never think any song really feels like a 'hit' - a song either feels good or bad, in my opinion.
If there is a blues song, it just goes in one ear and out the other. But other than that, if it stays with you and when we are all 90, we're going to look back at those songs, and it's going to be emotional. And when someone plays it, and you know it, and you're going to go, "I know that song and I love it."
I'm not beholden to the public, and neither are the public beholden to me or my songs. I'm very much of a populist on those terms, I believe that the song is no longer mine anyway. I like to process the dispossession that happens when you play something live. I don't have a clue as to how these songs are going to plan out, whether they're going to be on a record. I don't know yet.
If I knew what it was going to look like, I wouldnt be so excited to be a part of it. Jazz is a music of surprise; its a music of spontaneity. I think jazz musicians live--I know I do--for being surprised and not knowing whats going to come next.
The fun thing about song writing is that it's just creative. It can be whatever you want it to be. For me, I'm really protective of that. I'm not going to write something because I feel like it fits here or it fits there - I just want to write music that feels good to me, you know?
What feels most productive to me isn't to think so much in terms of how I can be alternative, but how I can be subversive in a way that feels organic, how I can connect with people, and how I can just be myself, which may be the hardest thing to be.
I could write all songs all day long about what I think about the music industry or music in general. Sometimes I gotta be like, "Let's write about something else." You don't want to say the same thing over and over again. In a lot of ways, I look at records as a year or two of my life encapsulated in songs. They're almost like journal entries.
I can write songs, but I'm not gonna really feel good about the song unless it feels like me, and I'm not gonna release a song or put it on an album or play it in concert unless it really feels like me.
In music, if somebody makes a good song, you want to be in that category and make the good songs too. It may not even be a competition thing, it's just a thing to keep your skills up type of thing.
What is good is what it's going to lead to, like the song "Jai Ho." If good numbers are going to come in the future, it bodes well for a lot of things. But then, who's going to maintain that. That's the question. So far they could never lead to an Indian song, like a normal film song in this that they can relate to.
Sometimes I'll write a song first and then I'm like, "Oh this person will be great on this song." But there are some artists I know what want, like off the top I knew I wanted Brandy and Faith Evans. Their music is like the soundtrack to my life, so it was a personal thing for me. So once they said yes, I wrote songs specifically for them.
When your hair is rising, that's when you know it's a good song - that's happened to me with some artists and some songs, John Lennon songs or when Nina Simone sings. It's great to make those moments yourself.
I always work on the songs all together up until the very end. I never mix a song and think, "Okay, now that one's done." I think that's why it feels like songs are really connected, and I like that. They're all worked on kind of like a little family.
When I create a song, I immediately think about what I'm going to wear when I perform that song. I think about the music video treatment and about how I'm going to look on stage when I perform the record. The connection is so obvious that it's a single package. An outfit, to me, is almost a tool to express the music.
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