In mid-wood silence, thus, how sweet to be; Where all the noises, that on peace intrude, Come from the chittering cricket, bird, and bee, Whose songs have charms to sweeten solitude.
I write in the studio, I don't sit around with a piano or a guitar and write songs. I get satisfaction out of that because I can finish the song really quickly. I can use whatever momentum I have. I've got to put it down, develop it, and get it as far [as I can], because the excitement of the moment of when you get that idea - you want to try and hold it and build on it and really gain strength from it. Being in the studio and writing songs like that is really the best way.
That's what my life is, writing songs.
I think our songwriting has evolved. We can show that we have continued to branch out and do different stuff and incorporate different instruments. When it comes to writing, I think that we have pushed the envelope. We can do whatever we want to try - a longer song or a shorter song, some different instruments, some piano, an intro with just vocals, something that's scathing. Whatever. However we feel the song should go, that's what we will do. With that mindset, I think it's made us better writers.
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.
I recognize that there are some great things about not playing a song live, and just kind of piecing it together as you go.
It's hard being the guy that brings in a song, because you're very, you know, it can be something that you get too sensitive about.
It's cool because you don't know how certain songs are going to go over until you play them live. For some reason, "Shivers" gets a huge response. I was not expecting it. When I start singing in the middle of "Baby Get Worse", they go nuts. Just little surprises like that.
You definitely get more of a band feel to a song if you've been playing a song live a bunch.
I don't wanna keep playing the same song over and over again. It's just thinking about "what's going to be the coolest thing to play on this particular show?" The easiest thing to do is to play the single over and over again.
Sometimes to get in the "musical mood," I'll just turn on music really loud, or go drive around and listen to music, or learn a song that I really like on guitar or piano. That gets me in the right frame of mind to proceed.
Although it's pretty rare that I'll get completed, finished lyrics to a song and feel like it's done, and then decide that it's not worth doing. Usually, I can tell along the way - even if it's something I've been working on for a couple of months - that it's just not going to work. Maybe I'll come back to it a few months or even a year later, or maybe it's just gone.
Mostly, isolation allows me to go through a period where I really concentrate and get in a flow. Sometimes the whole process can be daunting, and when you're away from it, thinking about going back to it is especially daunting. If I go away for a week, I can be working on 10 songs at once, just jumping around to each one. I can get a month's worth of work done.
If I was talking about making a song special, I probably meant getting the lyrics and arrangement together, or getting some instrument that's going to tie the whole thing together. That can take months, or it can happen really fast.
My song titles have different reasons for the mistakes. "Don't You Evah," that's just the way that I've always said it, and I just thought it was funnier. "Yr." in "You Got Yr. Cherry Bomb", it's that punk-rock way of writing "your," like "Kill Yr. Idols." And "Rhthm And Soul" was just an actual typo that someone pointed out, and I just said, "Well, I guess that's the way it's gonna be."
I love not being in charge of writing all the songs, and being the front person - the whole thing is cool.
I convinced Tim to add one song, and then we added five. We changed a lot of things while we were shooting, which you should never do in stop-motion animation. With this, it was a much smoother ship, so I wasn't getting sent the scratch reels of things.
United Artists wanted to do records with me. I had no idea, what a rare thing that was... to make an album. And they put a guy with me working on songs, and I got busy with films. I just kind of let it slide. Isn't that amazing?
When the tribal groups of december trade Seated in the figure of crocodile And songs are sung and deals discussed, are made Real. All... For more than one reason they smile. These codes are writ in secret, feeling fine To keep what's private to my self since we All must face our maker in our own ryhme And reasons for being ( from regrets) free So let the memory of your glory Be the tenderness heartfelt love starkly In the sky of my mind vast and pretty Evermore glittering simplicity Where in the truth of country grows sober And sunshines through fog to radiate wonder
Let every man sing his own song in life.
Whether one show one's self a man of genius in science or compose a song, the only point is, whether the thought, the discovery, the deed, is living and can live on.
You shall abstain, shall abstain. That is the eternal song.
Music is the highest art form.I still think that. I wish I was really talented in music because then I would be doing it. I felt that I could write a decent song, but it was a big struggle. It took a lot of time and effort for me, whereas a lot of my peers and other people seemed to have a much easier relationship to it. But I profoundly love music, and I still dream that I might one day try to write some new songs and record something - just for myself, to see what would happen.
The song I like to do is 'Dead.' I'm constantly playing that one.
Seskin has the gift of song...his voice has a natural lilt that can’t be learned. The combination of musicianship and repertoire make for a rich and satisfying musical experience.
