I don't think there are any clichés I try to avoid. As soon as I spot a cliché, I go for it. I feel like clichés are the most useful thing in songwriting. They're the tool on which you build all the rest of the song.
At first I was laboring under the impression that Chinese lyrics didn't rhyme. That turned out to be untrue - they don't rhyme in translation.
Well, there are certainly original things to say. But I'm not sure that a pop song is the appropriate format to say them in.
There are only so many instruments you can layer on top of each other that aren't perfectly electronically programmed. "Long Vermont Roads" just cannot be performed live, because it's just too cluttered if it's played by humans. Synthesizers stay out of each other's way in a way that hand-played instruments never can.
Never try to do anything artistic when you're feeling something overwhelming. It's like driving a car: If you're experiencing road rage, pull over.
If you start out with a song sounding like Britney Spears, and you end up with a song sounding like Pauline Oliveros, you'd better have pretty good liner notes explaining what on earth you mean.
Popular music of the last 50 years has failed to keep in step with advances in musical theater, namely Stephen Sondheim. But the two have grown apart so that popular music is based more than ever on a rhythmic grid that is irrelevant in musical theater. In popular music, words matter less and less. Especially now that it's so international, the fewer words the better. While theater music becomes more and more confined to a few blocks in midtown.
I write songs by sitting around in bars, so drinking songs are a little obvious. It's surprising that I don't write entirely drinking songs, since I am, in fact, drinking while writing the song. Drinking and love are the two principal sources of pleasure outside of music. There's only so many sources of pleasure, really. That's about it. Well, there are other arts as well. But none of them are as pleasurable as music, on a physical level.
The adventure is when people don't know what they're doing at all. Like, I think that the first pop band to use synthesizers as their main instrument and take it seriously was probably Silver Apples. And they sure didn't know what they were doing, and they sure don't sound like anything else.
I can imagine lyrics becoming better written by smart machines rather than stupid musicians. Songwriters generally have nothing to say. They may as well be replaced by machines.
That seems like one of the differences in expectations of "serious" and "popular" music that you can actually depend on the liner notes to explain yourself? Yeah. Whereas in popular music you depend on photo shoots. A hardcore band who looked like Duran Duran would have to depend upon those liner notes.
If the songs were in lumps, then you would expect to understand what was going on in the plot. Which is not a realistic goal. And also the instrumentation is different for every show, so it's more varied sonically. And people are free to make up their own plots, of course. There are pretty dense and complicated plots, and they're simple songs.
I think there is such a valid concept as "serious music," meaning that if you don't take it seriously, you don't get it all.
You know, most love songs are not cheesy and corny. Most love songs are complaints, I think. Or about unrequited love, coming at it from some oblique angle. Only the ones that say "I love you" over and over are the cheesy, corny ones that people complain about
There's a whole kind of melancholy that you can only attain with reverb. That's an example of a technology introducing a whole new meaning.
Serious music isn't listened to in a casual setting. You don't want to listen to that in headphones on the subway.
I gave up music criticism because of the increasingly obvious conflict of interest. I couldn't say anything bad about the records when I might be meeting that person's manager backstage an hour later.
I don't remember things initially when listening to music. Like, I don't remember where I first heard a song, I don't have nostalgic attachment to a song in that it reminds me of such and such a time or place. I think I probably did experience that somewhat when I was not a full-time, professional musician, but I don't think music works that way for people who are in it constantly.
If you want to write a love song, you need to not try to write it for a particular person in a particular situation. It needs to be vague, otherwise you're going to fall into trap after trap of trying to rhyme with somebody's name. Keep it vague.
There are so many clichés in the world, especially in music, that it's a never-ending creative font to just bring two of them together and let them interact.
My mother says I have boring percussion.
I would say that the evocative qualities of music are usually put there in post-production in the reverb. It's really not much about the musicians as the engineering. It's post-production that's being done by the musician at the time.
My mother was into folk-rock when I was little, so I think of folk-rock as the norm from which everything else deviates. Of course, that's completely preposterous, but that's how I grew up. What is the norm by which to judge wordiness? I think I'm less wordy than Madonna.
Surf is that music which is entirely about evoking something. There's never any vocals, so it's not about the lyrics, it's about the reverb.
I actually prefer to hear small groups of instruments. Orchestras seem to lack a texture for me, or variety of texture. There's only about ten things you can do with one note in a string section. But a lone violin is continuously changing textures.
