A Quote by Laura Benanti
That was my intention, was to have it be from the perspective of my high-school-aged self, and to try and emulate the music that I listened to at that time. So to write essentially like a pop-punk song about musicals. I wanted the dichotomy of the tone of the music with the lyrics and my singing voice.
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I wrote 'Love Foolish,' and when I heard the music for the first time, it felt like this was a song that Twice hadn't done before. I thought the song and music had a very mature tone, so I wrote the lyrics to match. I was inspired by the music directly.
All the music I listened to in high school that I loved and that moved me wasn't the same music other kids were listening to in school. I got into punk rock and new wave, then dub and hip-hop.
I went to school to learn guitar, solfeggio, and harmony. I wanted to know more about music, how it works. I wanted to take voice lessons, too, and that's when I discovered what I could do with my voice. At the beginning, I thought I would do classical and pop, but then I learned that I really liked the classical music.
Pop music has progressed. The singing voice has changed dramatically in pop music, and people now just sing the way they want to, in their speaking voice, instead of putting on some great transatlantic rock and roll sneer.
Starting in music, where I get a chance to connect with the lyrics of a song, I learned so much about performing on stage and connecting to your audience and to what you're singing about. Singing is very emotional. Every song has its own purpose.
With 'Torches,' I wanted to make a great pop record; I wanted every song to be exciting, not to have too much space, no long pieces of music without vocals. I kind of wanted to write the perfect pop album.
I dabbled a little bit in the whole music thing but I've always thought about Bernie Taupin, who is Elton John's lyricist; Elton John is the great melody and song writer but Bernie Taupin is the one who writes all the lyrics. I don't write lyrics, and I never wanted to be in the music business if I was just going to be a puppet in it.
When I was young I wanted to make films and then I got into folk music when I was about 12, and started going to this folk club in Auckland. My dad [Barry Andrews] was in punk and post-punk bands, so I guess it was a side of music I hadn't really listened to before - the really narrative form of songwriting.
When I was acting for the first time in 'Squid Game,' I listened to a lot of music. I listened to a lot of music by Sanulrim, Yoo Jae-Ha and Kwang-seok. In particular, I listened to the song 'Reminiscence' by Sanulrim a bunch. Listening to that song assisted me emotionally.
The one good thing about a movie and music and stuff like that: Sometimes it's a counterpoint between the movie and the music itself, the difference and the tension they build together. I think that could be something that helped with me, because when I write songs now, I write lyrics a bit like that. I try to make the music be an interesting twist on the lyrics and help tell the story in a - I don't tell crazy stories, you know? So a lot of times, the twist is in the subtleties. The twist is in the way the story's told.
I attended the High School of Industrial Arts and studied with many great artists as painting is something that you never stop learning about. Actually, in high school there was a time that I was thinking about just concentrating on painting and I asked my music teacher, Mr. Sondberg, for advice and he encouraged me to stick with the music as well. So all my life I have been singing and painting.
I don't really know what inspires me to write the music I do, but usually, the music will set the tone for the lyrics.
I write the music because I can't really write lyrics. But I can write chords like Robin's never heard of. So I provide the music for them to add the lyrics to.
When I became a 'rock musician,' I assumed pop music was easy to write and that interesting rock music, or alternative music, was hard. It was only later I realised that writing a pop song is the hardest thing musically.
If you take the duality of things - like sunny-sounding music with weird lyrics on it - it makes this dichotomy. I've never had that because when I make music, I make major chords, happy-sounding stuff, and my lyrics are positive.
The lyrics seem to follow the music, and that's usually how I write. I write more about what comes out of my mouth while I'm writing the chords, and that seems to work better than filling up notebooks of what I think is really cool poetry, and try to put it on a song. That usually sounds like it's taped on.
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