A Quote by David Longstreth
A song is about heartbreak - but what are the constituent feelings? What are the aspects? There is anger, there is guilt, there are all these different things. I guess putting those voices into dialogue together just felt real.
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Anger is about fairness. If it feels that you're getting ripped off or taken advantage of, that's when anger comes up. Sadness deals with loss. And I suddenly had this new revelation - it felt like to me - that those are all true, but the real, deeper reason we have emotions is to connect us together. And that felt big to me.
Monsters, among other brutes, are the ones without guilt feelings. Perhaps Hitler did not have any, or Himmler, or Stalin. Maybe Mafia bosses do not have any guilt feelings either, or maybe their remains are just well hidden in the cellar. Even aborted guilt feelings...All men need guilt feelings.
There aren't any real dumb people in my voices. It's always irritated me about Hollywood dialogue - there's so much dialogue that would just bore a Ford mechanic. This is not how people talk.
A song like 'Heartbreaker,' it's a song about learning - it's not necessarily a song about heartbreak. It's more than that. We write those songs to relive how we got over something.
Basically I see that song as a bunch of images which I threw together to represent the fact that I was seeing one girl and then I started seeing another, and it was just the guilt in between those two periods. The ballads I've written since have been about things that really hurt me.
I've never been interested in diarising my life through song. So much stuff has been done before. So many people have brilliantly articulated the pain of heartbreak or the joy of love or whatever. Those elements exist in our music, but I guess I strive to write about unconventional things instead.
We are fragmented into so many different aspects. We don't know who we really are, or what aspects of ourselves we should identify with or believe in. So many contradictory voices, dictates, and feelings fight for control over our inner lives that we find ourselves scattered everywhere, in all directions, leaving nobody at home.
When we're feeling fully alive, we're able to fully feel love. This doorway also relates to feeling our feelings fully. Not suppressing our feelings of anger, sadness or grief but allowing them to be felt. What's amazing is that when those feelings are felt, they actually dissolve into love.
When I heard Billie Holiday's voice, Nina Simone's and Ella Fitzgerald's - there was something about their voices to me that was such a different texture than what I was used to listening to at the time. Hearing those jazz voices were so different, and I think I just gravitated toward it.
What The Source becomes, in a physical sense, is almost like this particle accelerator. There's all these different, discrete voices and ideas. If you just saw two of them together perhaps it might seem completely diverse and like, "Why do you have these two people together?" But as it grows and as it speeds up, it kind of creates a larger dialogue.
I think this is one of the problems that we're having in Indigenous affairs. Why we're not confronting the issues that are going to resolve it, the anger and the guilt. The anger on the Aboriginal side; the guilt on the non - Aboriginal side. We have got to deal with that, move on and start doing real work.
So when a good idea comes, you know, part of my job is to move it around, just see what different people think, get people talking about it, argue with people about it, get ideas moving among that group of 100 people, get different people together to explore different aspects of it quietly, and, you know – just explore things.
I wrote a cheesy love song - called "Tender Torture". I guess it's more of a song about being away from someone that you love. It's pretty strange. It's sincere, I guess. It's actually something that I really felt.
If you realize that those who do mean things are psychologically ill, your feelings of anger will turn to feelings of pity.
And I like a good horror story as much as the next person so long as they kill off some men too and not just girls. But the voices Joan heard were real. There’s clear and substantiated proof they were real. She won battles that would otherwise have been lost because of what those voices told her in advance of them allowing the French generals to strategize in ways completely different than they did before Joan came along. People’s lives were saved because of what those voices told her.
There's a few times in the past when I wrote a song, and I put the words together, and they were very clear pictures, and I felt like I was putting together a really good story. But I don't think I was ever really able to stay on that. What I've sort of developed lyrically is more about the sound of the vocals and what they are.
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