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.
They can sonically sound like me, but nobody's ever gonna be able to write songs like T-Pain. There's only one of those.
Some people focus more on sonics. Some people focus more on story. I focus on both sonics and story, but music sometimes, just music itself, can turn into more of a maths problem. I guess everything in life is a math problem, but it can be more about an empirical route to getting the symmetry that you want, and this vibe, sonically.
Sonically, musicians always go above and beyond in our efforts to disrupt radio. It's always about being different. Our radio is never conventional anyway.
I wanna make stuff that sonically sounds really good. I don't wanna make a song about how people think I'm this when I'm really that. I don't wanna make a song about how I grew up broke.
You're sonically racist, Americans. You think we all sound the same, whereas I have definitely a mongrel accent.
I'm really not working in a environment that's sonically pristine. It's not a conventional studio, obviously; it's a bit ramshackle.
I've actually done more [music for] films than television. I love the process of writing for a film. I love that you are creating this suite of music for a film, that's all tied together sonically and thematically and hopefully people associate with the film. They all are meaningful to me in different ways.
