A Quote by Sid Sriram
When it comes to 'Maruvaarthai,' I have said many a time that Carnatic music drives my creative influence. In that sense, Darbuka Siva gave me a lot of room to breathe with the melody. The instrumental, however, was grounded. The lyrics is just poetic, and phonetically, they sound beautiful.
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There's definitely that tribal Africana thing going on in my sound. It's that marching band, second-line music, that Creole-influence in the kick, and the snare that drives everything for me. I think it's really what's separated my sound from a lot of the R&B and pop music out there.
Do I start with the lyrics? No. Quite honestly, it's the opposite. I generally get the melody first - I kinda fiddle around on the guitar and work out a melody. The lyrics are there to flesh out the tone of the music. I've tried before to do things the other way around, but it never seems to work. Obviously, I spend a lot of time on my lyrics, I take them very seriously, but they're kinda secondary. Well, equal, maybe. I think sometimes that if you write a poem, it should remain as just a poem, just... words.
I usually start with a guitar riff or some little pattern of chords, and then I kind of go from there. Usually my lyrics are the last thing to go onto a song. For years and years I only ever did instrumental, so I'm still trying to get confidant with my lyrics and find the right balance. I'll generally get inspired from the music. I'll have a guitar line, and then I'll have a melody line, and I hook the lyrics up to fit that rhythm. So, my lyrics to tend be very rhythmic as well. They work with the music rather than the music works around them.
Music has always helped me stay creative and grounded because I'm traveling and shooting and trying to understand other people. Music was something I could just sit in a room and make with my friends.
After all my years of doing instrumental music I still like just a simple instrumental song with a nice catchy melody and an opportunity to play a solo over a harmonic structure.
We spent a lot of time on that record with the sound and recorded it on the Paramount sound stage which is this huge room where the sound is reflected but the reflection is so late and comes from so far away that it doesn't blur the music but gives you a room nonetheless.
When I write, it is always the melody that comes first, and it just happens to be the case that the most beautiful tunes are sad, and the lyrics follow the mood of the melody.
I realised a long time ago that instrumental music speaks a lot more clearly than English, Spanish, Yiddish, Swahili, any other language. Pure melody goes outside time.
I probably listen to more instrumental music than music with lyrics, but at the same time I do love both.
I think I was annoyed going through the '90s just as a guy who loves music. There wasn't a lot of music for me. Everything was groove driven. We lost the plot with the melody. There's no more melody.
For me, making music just starts with a simple melody, and lyrics will come sometime after that.
Success is good, but I have seen the other side. I don't think much about it. I just work towards making a good melody, with catchy yet meaningful lyrics, and as I'm a music producer and arranger myself, I know the sound I need.
I love a great melody and wonderful lyrics that speak from the heart, and my music has that and speaks about it; but there's just something that was really raw and energetic about the early House music. It's hard to describe. It's like you had to go to these parties where the stuff was being played on these huge sound systems to really feel it.
The melody seems to have gone to the country. The country music seems to still have melody and interesting lyrics. But pop music, you've got to really listen hard to somebody who's doing a good melody and a good lyric.
It's always made me feel odd when I'd get a Dove Award for an instrumental album that has nothing to do with gospel. When I think of gospel music, I think of spreading the Good News with words. But maybe it's just because I was heralded once upon a time as one of theirs. The category of instrumental music seems sort of important to the big picture, but I felt a little embarrassed at the same time.
[Opetaia Foa'i] brought in the melody and the lyrics, but the lyrics were in Tokelauan, and so, we talked about what it could mean and whether this could be the ancestor song. So, I started writing English lyrics to sort of the same melody.
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