A Quote by How to Dress Well
"Face Again" is actually the most George Saunders-y song. Basically the verses, I'm describing a world where love is being killed, and then in the first chorus, I'm sort of protesting it. It's like, "I don't think you know what's best for me." And then by the end, it's like I've given in, and it becomes very desperate.
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You know for some strange reason I like to write the verse first. I mean I know the majority of people do the chorus first and when I think about it, I guess it does make more sense to do the chorus first, but I just like to write the verses first, I don't know why.
I don't have one thing I go back to, but we listen to a lot of music in the bus, and we always get a few songs or a few records that end up being themes for the tour. On tour I read all of George Saunders' short stories and all of Alice Munro's short stories. George Saunders is who has taught me about this question about whether or not love is possible in the contemporary world, with all of its simulations and all of its pop and divergences and all of the confusion and distraction. Whether or not contemporary reality is actually hospitable to love.
You know when sometimes you meet someone so beautiful — and then you actually talk with them, and five minutes later they're as dull as a brick. But then there's other people, and you meet them and you think: "Not bad, they're okay," and then you get to know them, and their face sort of becomes them, like their personality's written all over it; and they just — and they turn into something so beautiful.
I didn't sit down and write a song like, "I want to write a song about this," but I just spent so much time living in this affectively charged space of the live show, with its risks and the incredible reward that comes from people knowing me, recognizing me, affirming me. And then I would wake up in the morning and have an eight-hour drive where I would read George Saunders and listen to Grouper and Pure X. And you bond so much with your tour-mates and your bandmates because it's this weird, quite desperate way of living.
[A]s soon as you try and take a song from your mind into piano and voice and into the real world, something gets lost and it's like a moment where, in that moment you forget how it was and it's this new way. And then when you make a record, even those ideas that you had, then those get all turned and changed. So in the end, I think, it just becomes it's own thing and really I think a song could be recorded a million different ways and so what my records are, it just happened like that, but it's not like, this is how I planned it from the very beginning because I have no idea, I can't remember.
With 'Love Shack,' once we put that chorus in, it did have more of a song structure. Even though the verses are all kind of different, the chorus was there along with 'The Love Shack' - I think that really made it a hit. Once we heard it in the studio, we played it for R.E.M., and they were like, 'Yes this is a hit.'
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.
I think when I was doing my very first interviews, I probably brought a notepad and did ask people my first fifteen questions while sitting in a Starbucks or something horrible like that. And I found that, oftentimes, the most important thing at the very first interview is just establishing a personal connection and developing some sort of rapport so that I can go back to them again, and then maybe again, and maybe again after that.
One of my main problems with music is that the basic formula is always the same: verse, chorus, verse, chorus, bridge, verse, chorus, chorus, chorus, end. One of the bands that changed that was The Beatles. If you listen to 'Everybody's Got Something to Hide Except Me and My Monkey.' It's three verses, bridge, end.
Normally you'll have a structure to a song. You'll have an intro to a verse to a pre-chorus to a chorus, kinda repeat that, maybe there's a bridge, then you'll go out on a chorus - that's the quintessential song structure - sometimes you might do a fake-out, re-do a pre-chorus but the chorus doesn't come until later, but for the most part you follow these tried and true structures.
At first I wasn’t all that tempted by him, but then he killed the spider. Which was a huge point in his favor.” “Absolutely. I love men who kill bugs.” “And then when I was freaking out and couldn’t breathe, he was so…gentle.” Zoe sighed and colored, remembering. “He was holding me, and talking to me in that voice…you know, sort of low and rough around the edges…” “All the Nolans sound like that,” Justine said reflectively. “Like they’ve got a mild case of bronchitis. Totally hot.
When in the evening we are alone with our most existential thoughts, it is then that we come face to face with the most precious truths that we discover in our brief existence in this world. Just before fatigue envelopes us, taking us into sleep. We think of what our lives actually mean. And then we know how lucky we are if we still enjoy consciousness, rationality and love. But the greatest of these is love.
It's just like an idea, like a chorus, and then we just jam on it - it happens in loads of different ways. The best songs I find always come from the subconscious, like when you don't think. Not to be pretentious about it, but usually songs just blurt out rather than thinking about it. I never write lyrics and then do a song, I find that really hard - that's like a real skill.
I don't like drums dictating the song; like when you hear a fill and then you know the chorus is coming up.
Back when the Bible was written, then edited, then rewritten, then rewritten, then re-edited, then translated from dead languages, then re-translated, then edited, then rewritten, then given to kings for them to take their favorite parts, then rewritten, then re-rewritten, then translated again, then given to the pope for him to approve, then rewritten, then edited again, the re-re-re-re-rewritten again...all based on stories that were told orally 30 to 90 years AFTER they happened.. to people who didnt know how to write... so...
I really like films and plays that cross over different genres. So I'd like to do something that you think is a drama and then you think is a supernatural thing and then becomes a drama again. That's very vague.
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