A Quote by Himesh Reshammiya
With 'The Xpose,' the main challenge was to create timeless melodies. The thriller is set in the '60s, and we didn't want the songs to sound dated.
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I like songs that sound like classics. There are songs that might be cooler or have better production, but I like songs that sound like they're timeless.
It's funny, but to me, when you go to a concert hall and hear electronic pieces from the '60s, I think they sound really dated. But when an orchestra plays a piece from that period, and it's going to sound different every time, it feels more modern to me.
No one knew what Rococode was "supposed" to sound like. Now we have a sound and we have a good idea of what we want to create and the type of songs we want to present to people. I think it's really exciting, actually.
'Free Bird' is timeless, 'Sweet Home' is timeless. They're just timeless songs.
Well, things hold up even if they sound dated. It can be very difficult to listen to 80s pop songs with really, really gigantic smashed drum sounds. You just want to turn that gated reverb down on the snare. It sounds wrong now. It sounds amateurish. And ugly. But at the time it sounded state-of-the-art. So yeah, I think it's important not to sound state-of-the-art in a way that anybody else is going to sound. Or you'll quickly sound like yesterday's state-of-the-art.
I really tried to go for that sound of the '60s pop melodies but I'm living in the present so that makes it contemporary. I like to pretend I'm outside of myself and that is what the recordings and the process helped me to do.
I write lyrics. putting words and melodies to my songs. That's a real challenge, I take it on vigorously.
I find that when I get on stage now, I don't want to perform a lot of my songs because they don't feel like me. So I want to make songs that are timeless.
So I concentrated on the rhythmic side of things, and therefore left a lot of holes. I didn't want to use big pad chords everywhere. All of the songs are built up of small melodies and counter melodies all played very rhythmically.
The challenge is not so much to change the sound. The challenge is to connect and to create something special.
I instinctively want to create pop songs and I think it's really good to challenge that, otherwise it becomes a habit.
The guy I played in 'The Xpose' is more like a spoiled brat who likes to have his way than a villain. No more negative roles after 'The Xpose' for me. I've enough problems dealing with the negative image I've been saddled with in some sections.
The challenges change depending on the song. There are some songs where the lyrics are really a challenge and then there are other songs where the lyrics are there and the music is a challenge. And then you've got rock songs where the challenge is the tightness of the arrangement with the band. The music and the lyrics are there, but it's a challenge to get the arrangement correct. So I wouldn't be able to point to one thing. What the challenge is changes all of the time.
Springsteen's 'Thunder Road' and Carole King's 'It's Too Late' are examples of why I am a singer/songwriter. I practice these songs every day. The melodies are timeless in the rock world, the lyrics are words that I need to say, and they need to be heard again.
When you work on animation, the music has a great task: to create a sound and melodies and mood and atmosphere and energy dedicated to these extraordinary characters.
There is a great temptation with songs, melodies and lyrics to overcomplicate them but in fact, you find that the most enduring melodies are often the simplest.
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