A Quote by Lauren Mayberry
If there's a strong melodic thing somewhere, whether that's in a vocal or in a guitar part or a sample. Something that sticks in your brain, that seems to be something that works.
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No matter how many people try, no matter how many fancy songwriters in Los Angeles try to break it down to a formula... to an extent, there isn't a science to writing great songs, I suppose. For me, it's always about melody - it doesn't matter what genre of music you're writing, if there's a strong melodic thing somewhere, whether that's in a vocal or in a guitar part or a sample. Something that sticks in your brain, that seems to be something that works.
It's like something happened to you that caused you to do what you do...you heard something somewhere, you felt something about this music that was definitely part of your own vision. That's what the whole thing is like.
I most enjoy sitting down with the acoustic guitar and just fiddling around and trying to come up with something like a hook or some sort of melodic line. That's something that I do habitually.
There's so many people dependent on our work for their living or their livelihood. You do something whether it works or whether it doesn't. Once you're committed and you do it, it becomes a part of your life. I wouldn't be sorry about it. I'd learn from it.
It's one thing having a great song, but I think for me if you take it to the next level... say you had a guitar and a vocal, and the song was amazing but the vocalist wasn't that great and it just was a guitar and vocal acoustic track, switching that to something like an amazing voice singing the exact same song with the instrumentation being really nice and lush or unique in some way and interesting and diverse... I think it's all about the instrumentation and textures in the sound.
But my role is to just apply the skills I've learned over the years: you listen to the guitar, you listen to the vocal melodies, you listen to the rhythm, and you come up with something that helps you take the song somewhere.
There's something immediate about the experience of reading a poem - whether it's the music or some other element of it - that just seems to access another part of the brain. You know, Charles Olson talks about this transfer of energy that happens between the writer and the reader of the poem. I guess there's something essential to me about acknowledging upfront the immensity of it - the difficulty of it - and even allowing that to be the subject.
I can sample Blink-182 but put an African vocal sample in there.
It's always a pleasure when you can compose guitar parts from a strong vocal and not just put the melody on top of guitar riffs.
When something tragic has happened, you can try to move on and put something tragic behind you, but it rarely works. It's in you when something like that happens. It's physically a part of your life.
There is nothing -- absolutely nothing -- half so much worth doing as simply messing about in boats. In or out of 'em, it doesn't matter. Nothing seems really to matter, that's the charm of it. Whether you get away, or whether you don't; whether you arrive at your destination or whether you reach somewhere else, or whether you never get anywhere at all, you're always busy, and you never do anything in particular; and when you've done it there's always something else to do, and you can do it if you like, but you'd much better not.
I like textures and tones. Sometimes, it will be a melodic feedback from a song or something. I like warm, ethereal sounds. That kind of gets covered in every genre of music, so it could be a rock sample, jazz, soul, reggae.
A scary dream makes your heart beat faster. Why doesn't the part of your brain that controls your heartbeat realize that another part of your brain is making the whole thing up? Don't these people communicate?
To me, it seems more realistic to my thought process when things feel a little scattered in the lyrics. Being disjointed is not that abstract of a thing when I think about how my brain works - I feel like it's almost more realistic. That's how my brain works.
You make sexiness strong by balancing it out: something familiar with something unfamiliar, something masculine with something feminine, something streamlined with something rococo. It's a Yin and Yang. Women are made of layers, your mood shifts, no one is neither one extreme nor the other.
There's something wrong with my brain, it doesn't work properly! I can hear the same pitch in both ears, whereas for most people, if you listen to one pitch in one ear, it's slightly different in the other. That's how your brain works out direction.
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