A Quote by Caroline Polachek
I was actually really stunned that my label suggested 'Door' as the single to lead with, as it's such a long and winding song.
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I wrote 'Lights' a long, long time ago. And I expected it to be on the album, because it was - I wrote it with 'Biff' Stannard. And he wrote every single Spice Girls song and every single pop song of the 90s, basically. So I thought, you know, I was really lucky to work with him, but I didn't think it would be a big song for some reason.
I used to play a lot of electric guitar. I don't really consider myself a guitar player anymore. Then I got really into how the pickups work. And winding and de-winding Telecaster pickups. And then building Telecasters. And I became more fascinated with making them than I was with actually playing them. So it's a slippery slope.
The long and winding road that leads to your door / Will never disappear, / I've seen that road before it always leads me here, / Leads me to your door.
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.
There's one song that I recorded called 'Saviour' and every single sound from that song was actually recorded in a shipyard on my iPhone.
I had recorded a song 'If You Need Me' for the Correc-Tone label, but it was a small label and distribution was a problem.
I actually admire the Indian artiste 'Lost Stories.' He made a remix of my song 'Faded.' That is really good and cool because it actually represented Indian music. I just loved the song; it so unique.
Since I was a child, I've gone to bed when things get too much. As a result, I have more trouble winding up than winding down in the morning. I need a second cup of coffee and then I potter around in a disgusting white towelling dressing gown for as long as possible.
Somehow, it seems that the sadder a song is, the happier I feel. The release of emotions that many would label as 'negative' is actually a liberating process for me.
We haven't really changed, we've just gotten better at executing what we've always been trying to do. We're not really a band that has undergone huge stylistic decisions to change, we're just trying to follow the song. More and more, we let the song lead us - we don't try and put the song into a structure of our taste or our fashion.
The pause makes you think the song will end. And then the song isn't really over, so you're relieved. But then the song does actually end, because every song ends, obviously, and THAT. TIME. THE. END. IS. FOR. REAL.
Actually think anybody ever approaches writing any song, I think the song approaches them, truth be told. Usually what happens is that a song arrives and afterwards you say that "I wrote the song," and it's not actually true; they find you, they write themselves.
That's the best thing about being with an indie label, it feels like a family. If it's a major label, they put so much pressure on every single.
I remember writing lyrics for 'Take Me to Church' for a long time before I even had a song in mind for. It's not that I was trying to write that song for a year, but sometimes you just kind of collect lyrical and musical ideas and don't actually complete the song until you feel like they work together and have a home.
It's really tough - if you're on a major label and they want you to have a number one song, you need to do what they say.
I remember a song I did called 'If the Good Die Young' - I wanted to have a lead guitar solo on there, and the label flipped out! It was too rock and roll. They made us go back and put fiddle on the solo.
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