We've always been trying to climb this ladder that leans so hard on our own idea of what our big songs are. We realized recently that we're not a band with big songs.
In fact, on a side note, after the success of the first record, I got asked to write for some pop artists, as everybody does, and I did a couple songs for some of these massive stars and the review that I got back was, "This artist likes the song but it's too POP-y for them." I was like, "What do you mean, I thought I was writing for a pop star."
I never try and force-feed any song idea or lyrical message. It's really what's on my mind and what comes out of me. And a lot of these lyrics are metaphors for specific life situations that I've been through, and in most cases, the struggles. Something about human beings wearing sadness heavily on their sleeve inspires me to make something uplifting about the situation.
I just find that with music I've always felt a sort of comfort."Paranoid Android" was the saddest song I'd ever heard in my life, but it felt so good - it was like, "Oh, you understand where I'm coming from." I was at a weird age at the time, in a hardcore band that had no melody, no chance of finding any success, and I was just trying to figure out what the hell I was going to do with my life. And that came out and changed my life forever - on an artistic level, and a lyrical level, for sure.
I dont really take anything from home except some U.S. magazines and books and definitely some U.S. music. There are just certain songs that remind me of home.
What a strange power the perception of beauty is! It seems to ebb and flow like some secret tide, independent alike of health and disease, of joy or sorrow. There are times in our lives when we seem to go singing on our way, and when the beauty of the world sets itself like a quiet harmony to the song we uplift.
We have to wake up early and make songs everyday. I run my record label. You work at hours where your body isn't designed to work. But it's fun.
There's a bit less elbow room and latitude to take it somewhere else, at least at festivals. In the club you can do whatever you want but at festivals, especially Ultra, nowadays the crowd wants to hear our songs.
I felt certain uneasiness, a strange sensation, which had comic to a head. Every evening I went to Yahya to report that Mujib [Rahiman] and I weren't making any progress, and Yahya [Khan] showed no interest. He looked away or complained about the television or grumbled because he couldn't listen to his favorite songs - his records hadn't arrived from Rawalpindi.
I always have loved music, ever since I was really little. I just loved to sing. I can't really explain it, except maybe - and this is going to sound really stupid - when I would listen to a song it would make me more excited than anything else could.
I've been writing music since I was about eight. I would write sporadically. I wrote a lot of music in high school. I guess the oldest song on the record ("I Thought I Saw Your Face") is about eight years old. It's the old "I had my whole life to write my first album and six months to write the second one." I did, to some degree, but actually, a lot of the songs that ended up on the record, I wrote really recently. So it varies.
I'm always interested in hearing how other people read and react to my songs. I hadn't thought of it in just that way. One of the things I love about doing things that are creative is that I feel like it's my right as an artist not to be affected by the reactions of those people that are going to hear my songs. But I also feel like it's the right of the people hearing them to have their own interpretations of what these songs mean. Sometimes people will see things that I don't see.
I'm always interested in hearing how other people read and react to my songs. I hadn't thought of it in just that way.
I also feel like it's the right of the people hearing them to have their own interpretations of what these songs mean. Sometimes people will see things that I don't see.
I appreciate a songwriter like Morrissey with so much restraint.
Oh my God, there are so many songs I wish I had written. 'Waters of March,' I wish I had written 'My Baby Just Cares for Me,' I wish I had written 'This Will Be Our Year,' I mean, there's millions of them. 'Wouldn't It Be Nice?'
It's very much a piece of myself when I write a song. I don't mean to say it's very personal, like the lyrics mean something personal to me. When I write a song, that's my taste in music - my taste in chord progressions and melodies.
I tend to like simple music. And clever, succinct lyrics. Songs that don't try to be more than they need to to be effective, to stir up something emotionally within you.
It's nice that there are movies and songs about romance - it's what motivates us as human beings. I'm all for being brainwashed by rom-coms.
I love to play music, and this is fun, and let's record this stuff in a way that we both like. That was exciting enough, so we just recorded it. There was no business in it until the very last minute, really. It was really as much of an extension of me writing the songs in my bedroom as it could possibly be.
I feel like songwriting is an experiment in empathy.
One of the things I love about doing things that are creative is that I feel like it's my right as an artist not to be affected by the reactions of those people that are going to hear my songs.
Everyone needs a theme song! It should make you feel like a million dollars.
A lot of times I have the song inside of me and I have to fight to get it out. I'm a very visual person, so I can see the song but I can't hear it. But I think that if your music becomes a war for it to happen, in the end there's a certain kind of aggression in the music. And I think that's a lot more interesting.
The only reason I would write a break-up song is because my own problem of allowing myself to relate to people.
