A Quote by Lou Barlow

I just write... I follow the melodies that I can't forget/the ones that pop up in my brain the most. — © Lou Barlow
I just write... I follow the melodies that I can't forget/the ones that pop up in my brain the most.
I've always had an ear for melodies, and they veer pop. My lyrics are more country - what I love is the storytelling and the structure, how tight the rhymes can be. But pop melodies have always been intrinsically linked to my writing style.
About 20 years ago, I had a dream in which somebody sang one of the most beautiful melodies I'd ever heard, and gave it to me, and warned me not to forget it. Of course, I did forget it by the time I had got out of bed. Now as precaution, my phone is overloaded with half sung melodies.
Melodies and ideas are always on my mind and always coming to me. I'm very thankful for that because if I didn't have whatever that is, that craziness, that openness, maybe, I don't think I'd be able to do what I really love to do, which is write great melodies and at least try to write great melodies.
I've always argued that all Tame Impala melodies are pure pop. It's just that 'Lonerism,' for example, is a completely rumbling, fuzzed out psychedelic rock album. But for me, it was just pop music produced the way that I like to produce it.
I don't want to write melodies anymore. I can only write really simple, dumb caveman melodies.
I kind of write in a very classic way. I sit in the piano, working on some catchy, cool melodies and coming up with song concepts for those melodies. I kind of write in a very traditional way '- how people have written since the early '40s.
Richard Shindell works impressive alchemy with the plainest, most primal American pop melodies.
What makes something pop? It's really just the bed it's placed in. If I grab melodies by Black Sabbath or Metallica and take them out of their musical bed and put them into a pop context, it's not like they wouldn't translate.
At times I have a beat first and then I write. Sometimes I have a melody in my head and I pick up the guitar to develop the song. Other times I just write without any melodies, and I end up using those lyrics when I think I have the appropriate instrumental that would bring out and depict the emotions of what I have written.
Usually, I'll just be walking from my house to somewhere else, and melodies and words will start coming up, and I'll have to run home to write it all down.
What I can feel the most and what I can remember the most are the melodies I want to write to.
A song that sounds simple is just not that easy to write. One of the objectives of this record was to try and write melodies that continue to resonate.
If you see a credit with just my name on it, that means I write absolutely everything: rhythm guitar parts, guitar melodies, vocal melodies... absolutely everything, really.
All the big pop acts that I've been into over the years - whether it's ABBA or Prince - managed to combine amazing melodies and honest human emotion. But coming out of the super-super-commerical pop industry in the 90s, maybe people forgot about the fact that pop music can do both of those things.
For me, pop melodies are their own thing that have their own emotion, but they don't necessarily belong exclusively in a pop song.
What comes first? The melody, always. It's all about singing the melodies live in my head. They go in circles. I guess I'm quite conservative and romantic about the power of melodies. I try not to record them on my Dictaphone when I first hear them. If I forget all about it and it pops up later on, then I know it's good enough. I let my subconscious do the editing for me.
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