A Quote by Nina Nesbitt
I do loads of pitch writing as well, where you write a pop song and then pitch it to DJs who can then work with the song, and sometimes they keep your vocal on it. It's just good to be involved in different things.
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I always listen to music when I write! I basically make a playlist for every essay; sometimes it's just one song, or three songs, over and over and over. I sort of find the emotional pitch of the piece, and then match music to it, and then the music becomes a shortcut to the feeling, so I can enter it and work anywhere: on planes, cafes, at work, the train.
Sometimes I get in writing moods and I want to write a song every couple of days. Then sometimes I may not write a song for three weeks. It's just according to how it's hitting me at the time.
You have to ration your creativity over all your songs. You write a really cool pop song then you have to write a heavy song to balance out, then you need to think about singles.
A Song of the good green grass! A song no more of the city streets; A song of farms - a song of the soil of fields. A song with the smell of sun-dried hay, where the nimble pitchers handle the pitch-fork; A song tasting of new wheat, and of fresh-husk'd maize.
Sometimes when you're writing a song, it's work, and you really have to make sure you're kind of pounding out every little piece of it. And then sometimes you write a song, and you turn around and you go, 'How did we do that?'
I'm one of those people that I make a song... then I write another song and then I'm like, 'But this song is so much better than this song,' and then I kind of ditch that song. It's a long process.
I have a notebook that I take with me everywhere. I free-write in it when there are situations that I know I can write a song about. I will just start writing everything that I can think of while trying to write some things that are kind of poetic or sound like they could be in a song. Then, after the music is written, I go back and look at my subjects to see which one I think woud go with what music. Then, I formulate it into a melody and get the song.
When I first start writing a song, I usually write the title first, then the song, and I'll sing the song in my head and think of a visual of the song. If I can't think of a visual behind the song, I'll throw the song away.
Everyone's [ me, Iain Cook and Martin Doherty] equally involved in all the writing. Normally we'll start with a sample or a drumbeat, or a synth sound or something like that, and that will spark the initial idea. And then we'll write an instrumental sketch of a song, and then we put on a nonsense vocal melody, which is always my favourite bit because it obviously sounds amazing.
There are no limitations with a song. To me a song is a little piece of art. It can be whatever you like it to be. You can write the simplest song, and that's lovely, or you can just write a song that is abstract art. ... A lot of my songs are very serious, I'm like dead serious about certain things and I feel that I'm writing about the world, through my own eyes. ... I have a love for simple basic song structure, although sometimes you'd never know it. ... Most of the songs I wrote at night. I would just wake in the middle of the night. That's when I found the space to write.
When I've produced a song, I try to record a vocal over it, and sometimes it becomes really hard. Sometimes I've already said a lot that I want to say within the production. The vocal is just adding to it, rather than it being a song.
The interaction with Marco Reus is also very good. We understand each other very well, both on and off the pitch. If we get along privately, then that affects things on the pitch. We're almost like brothers.
The thing is, the way we write is all jams and bits and pieces that get pieced together and sometimes things are written with intentions of being a song, and then all of a sudden the main riff of this song, six months later turns into a verse or a chorus of another song.
If I try to write a song, I will completely fail to write a song. But if I'm just holding my guitar and I just start humming, then I'll have a song in an hour.
Sometimes you're writing a song and you have an image whilst writing a song. I don't think you ever base a songwriting process around a video, but when you're writing a song sometimes it'll be a very visual song.
Professors will lecture with more inspiration if they occasionally alternate the classroom with the beach: authors will write better when, as Macaulay used to do, they write for two hours, then pitch quoits, and then go back to their writing. But certainly more than the mere mechanical alternation is involved.
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