A Quote by Kevin Parker
For me, pop melodies are their own thing that have their own emotion, but they don't necessarily belong exclusively in a pop song.
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No one wants the picture-perfect song anymore. I'm trying to keep the beautiful qualities of pop - nostalgia, melodies, and the feeling that a beautiful pop song can give you - but make it real. It's not polished.
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.
I realized probably when I was, like, 20 years old that the hardest thing to do is to write a pop song - not, like, a candy-pop, throwaway pop song.
I think pop music was going through a phase where it was like pop but dance-hall or pop but R&B. But, no, I just want a pop song.
You have to learn how to act a pop song. You have to find the balance of the pop from the pop song and the lyrical significance of the scene you are in.
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.
You want to embrace what the idea of pop music is. Not necessarily the stereotype of pop music; there was a time when you'd say 'pop music' and conjure up images of the Sweet, or Marc Bolan. That, to me, can be avant-garde still.
I'm usually way more pleased with the stuff that just kinda happens by accident and is no way a pop song. But sometimes the easiest thing for me to write is pop songs.
For me, with the Blue Man Group, I got asked. It was for the Royal Variety Show, which was something I always wanted to be a part of. I'm really interested in things people don't necessarily expect. I did a pop song, but I did it in my own style.
I think pop music is in such an exciting place right now, and I do kind of credit that to Lorde with 'Royals.' I think that song changed everything in the pop scene. All of the sudden, alternative pop music became pop music.
Every time I finish a song... most of the time it's in my own head, like this sounds too much like a Townes Van Zandt song, or whoever. I realize there are so many melodies and chord progressions in pop and rock music that are so similar that you can kind of trace it back to other things. Most of the time it's just in your head.
I don't try to approach things any differently, songwriting-wise, regardless of what I'm doing. I try to write whatever the best thing is that I'm doing that day. If I'm working on a pop song, I'm working on a pop song to the best of my ability. If I'm working on a bluegrass song, it's the same thing. They're not really different parts of the brain.
Pop is like a puzzle: to write a perfect pop song, you never know, and there's so much that can happen in a second with a song.
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'm still looking for the rules of what is and isn't pop music. I'm pop. I mean, of course I am. What isn't pop? There should be a pop amnesty where everyone reclaims it.
We kind of write pop songs, but we don't fit in the pop world. We're really bad at being pop stars and walking down red carpets. We've got our own little bubble, which we really like. We've learned to really like that.
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