'Everything that's ever really changed culture has been new.' Curtis Pawley and Matty Healy on musical vanguardism and the rabbit hole of radicalism.
,” the first single of The Life’s forthcoming album, has the upbeat percussion and swelling bassline of a chart-topping love song and is surprisingly personal for Pawley, whose close friend Matty Healy describesto discuss the anatomy of a good song, their musical inspirations, and the perils of trying to make music that’s self-consciously “cool.” —CAITLIN LENTHEALY: I’m good. How arePAWLEY: Stoked, I think. We’re going to announce the single on Sunday.
PAWLEY: Totally. It’s so funny you say it’s optimistic. I would agree. But I have a strange view on this stuff, because I actually think the best kind of dark art is optimistic, in a sense. Let’s think about “Hurt” by Nine Inch Nails, a song sonically and lyrically about bottoming out. But it’s about accepting and embracing being at the bottom, embracing hopelessness, which is actually an optimistic thing.
PAWLEY: For now, just this first single’s coming out. It started during COVID, so I was by myself, and it was this weird thing birthed from me being alone and filling in all the parts myself. And then the more I worked on it, the more I started to feel like I liked this—I liked it sounding like what it, which was one guy alone in a room with his limited tools, trying to make something that sounded as big as it could.PAWLEY: Exactly.
PAWLEY: This reminds me of something I wanted to bring up with you. We’re both big lyric guys. It’s funny, because half of my musician friends don’t listen to lyrics, which I don’t understand. But for me, because I’m also a production and a craft nerd, it’s the way a lyric or phrase is married to those aspects of music, that’s the biggest rush that I can get out of a song. I feel like you’re really good at writing about specific things.
PAWLEY: Exactly. But also, as you mature, you have more vehicles when you think of an emotion or a place that you want to write from. PAWLEY: I’m not trying to be a boomer complaining about music. But I think maybe the reason there hasn’t been that young revolutionary thing is because that’s what artists, especially young artists, are trying to do. They go into it with an attitude of, “I’m trying to push music forward.” And to me, that shouldn’t be the end goal. Doing something in a new way is a vehicle. It makes musicians overlook all the shit that we were just talking about, like the DNA of a song.
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