A Quote by Rostam Batmanglij
'Unbelievers' was a song that we felt like we could tackle, so that's one of the reasons we wanted to start playing it live, we really believed in that song and we still believe in that song a lot.
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A lot of my fans wanted a kind of 'in your face' song. They wanted a song that exemplifies me overcoming the situation I was in and just that triumphant kind of song. So, I felt like I wanted to go ahead and get that out of both of our systems with 'Good Woman'.
But once you've made a song and you put it out there, you don't own it anymore. The public own it. It's their song. It might be their song that they wake up to, or their song they have a shower to, or their song that they drive home to or their song they cry to, scream to, have babies to, have weddings to - like, it isn't your song anymore.
When we did the 'Titanic' theme, that song was everywhere. At the time we did it, it wasn't an old song. We didn't really listen to that song. We're not fans of the song. It was more about taking the song everyone knew and making it sound like a New Found Glory track.
The interesting thing about a song like 'Bulletproof Heart' - it was [originally] called 'Trans Am' - the interesting thing about the amalgamation of that song was that the song also lived within us, like we all got to live with the song and it was around for about a year before we recorded it again, so the song got to really transform, which you don't really get to do.
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.
A song like "Walkabout", it's totally imitative. The goal of that song was to make people happy, and I've never really made a song to make people happy before. I really genuinely wanted people to listen to that song and have their spirits lifted.
What's really cool about 'This is Me' is that our friends loved the song. Older punk rock fans don't know 'The Greatest Showman,' haven't seen the movie. And they hear that song and they're like, 'This just sounds like an awesome New Found Glory song. This is a really good song.'
I am a firm believer in playing the type of music that compliments the song the best. If it's a folk song make it sound like one. If it's a rock song make it sound like one, if it's a rap song take it off the record.
Everyone has their own experiences with song. It means one thing to me and it means something entirely different to somebody else. I have a song called 'Apple Cherry' which is a song about unrequited love and to this couple in London, they fell in love to this song. The girl in the relationship called me and said she wanted to propose to her girlfriend could you sing 'Apple Cherry' while I do it? I was like 'Really? That's not a love song about getting together'.
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.
When I write a song, I always start on acoustic guitar, because that's a good test of a song, when it's really open and bare. You can often mislead yourself if you start with computers and samples and programming because you can disguise a bad song.
What's amazing about a DJ set is when you're able to re-appropriate a song or give purpose to a song that people didn't really think it was supposed to have. Give it this sort of hidden power by playing it before this song and after that one. That it fits into this logic and it goes farther than you thought it could go.
Whenever I think I know something is a classic, or an amazing song, I realise it's still so subjective, because you and your friends could be talking about something, say, '(I Can't Get No) Satisfaction' - an amazing classic song - or someone would be like, "'Hey Jude' is an amazing song!", and I'd be like, "I don't really like it."
I feel like this song [Yello, "Oh Yeah"] was probably done in a couple of minutes in a studio. There was probably no thought behind it; they were just playing with some samples and threw it together. I feel like there's no dream behind the song. Usually there's a dream or some kind of passion attached to a song. This song feels very empty. It made a lot of money for the songwriters but at the expense of culture.
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 would say a great song [is where] you like everything in the song. The lyrics move you, the beat makes you want to dance and you feel invincible when you listen to that song. A good song I think you can listen to but you get tired of it really fast.
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