A Quote by Lizz Wright
There's a beautiful, kind of seductive trap in being autobiographical in our writing of songs: We just get stuck in our own syrup, and it's so personal that it almost can be embarrassing to the listener.
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In life you can get a feeling which is part of a person, the same as in the songs. Music is almost our representation of our fantasies and so our songs are representations of our fantasies.
I'm not interested in writing overtly autobiographical songs. I would rather explore interesting stories. I like the idea of the songs being evocative and distinctive, so I have in my mind the atmosphere that a film could evoke. I like to think of them existing in their own little world.
And if you can find any way out of our culture, then that's a trap too. Just wanting to get out of the trap reinforces the trap.
Personal songs take a little more to record, definitely. We had to bring our souls into the recording studio. It was us being very vulnerable. We heard that our fans can kind of feel that.
When I first started writing songs and being very explicit, it was hard, but one of the main things people respond to in my writing is that 'just say it' attitude of my songs. There really is nothing personal or private; it's all universal, if you can just find the courage to be open about your life.
I want to get into producing and writing more for myself - setting up my own films and seeing what kind of personal touch I can put on movies, as opposed to just being in them.
We have to learn to be our own best friends because we fall too easily into the trap of being our own worst enemies.
Whether it's writing songs, being on stage, being interviewed, meeting fans - I just try to be myself, which is kind of exhausting because it almost feels like it never shuts off.
I'm such a strong believer in making yourself happy. Almost in a selfish way. There are a lot of trends, and obviously you can get swept up into them. But I feel like if you just write songs you love, it can have trap beats in it or whatever's going on in the moment, but you don't stop loving songs.
We started writing songs like 'Shook Ones' and 'Survival of the Fittest' explaining our neighborhood, but more our personal lives.
I think service to others is the real key to winning our own personal freedom and the road to our own happiness, our own personal contentment and fulfillment.
I've tended to write lyrics alone. The emotion of the melody comes first. But what stimulates us are usually these dreamy minor chords. We all feel we're an emotional band as far as writing, but the specific emotions tend to be of a melancholic, or of an almost sinister-yet-beautiful nature. I never think of our songs as being about boy-girl relationships or ultra-female. The music comes from a universal place.
People are always going to have favorite albums or songs and you know that's more the listener's personal bias than basing it on anything musical or actual. I'm the same way as a listener.
I think the first time you have to change code you’ve written previously, to add features or remove a bug, you realize that you could have done it better in the first place, that you could have found an architecture that would make it easier to transform and grow the code. And this is terribly seductive—you’re not just building a solution to a problem, you’re potentially building a beautiful solution, with ‘beautiful’ here being defined here by an aesthetics of present and future functionality. This can be a trap.
When we first started playing in the early days, none of us really had any idea about writing our own songs yet. We were struggling how to learn our instruments and play songs to be able to perform for people.
Once you are successful, there's a very seductive rhythm at work that keeps you wanting to outdo yourself. By the end of 'Spirit' I felt like I didn't want to get into that trap. It almost makes you cartoon-like.
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