no matter how good your lyrics are, it's going to be hard to care if the music doesn't support them. I do also want to say this as someone who writes a lot of music. Composers of popular music weave lyrics, melody, and instrumentation together to create a consistent and com- pelling emotional scene. there's also been the reverse where a song i've loved has gone the other way because the lyrics are just not cool (seriously, the amount of slut shaming in 80's and 90's music is kinda scary) i'd maybe been listening to that song for 12 years before i realised what it was about and found myself loving it even more. samey after a while.ġ00% honest though, there's been a lot of cases where i've been listening to a song, realised what the lyrics are about and then blown away. which i feel is good BUT can lead to things feeling a little bit. it feels like the music is supporting the lyrics, rather than the 2 existing on equal footing. There are genres that i do feel are more lyrical. IMHO the whole "white guy with acoustic guitar" thing is usually just the attitude of the hair metal ballad without wanting to tease your hair out. but when the lyrics are just various "i love you" platitudes. that leaves the lyrics and often, they're so un-inspired that i just feel ripped off. when you minimize the instrumentation, you do so to bring attention to the lyrics. there's nothing there for me to grab onto musically since it's usually some combination of various zombie chords played in 4/4. honestly, i think it's part of the reason i hate that whole "white guy with acoustic guitar" scene. That’s why it just about edges it.Usually, i come for the music, not the lyrics. But a great melody feels like a sturdier platform on which to build. Lyrics and melody are so wonderfully entwined that one shouldn’t, and in most cases can’t, exist without the other. Both are yearning and earnest, with a melody that could hold your house up. What stops the listener going: “Hold on mate, a what?” is the way the nonsense is delivered. Generally, there are multiple verses in a song, and they usually have different lyrics even though the melody will likely be the same. Damon Albarn had no idea what a Beetlebum was, just as Noel Gallagher didn’t have a firm grasp on the philosophical construction of a Wonderwall. Often, chucking a bunch of vowels at a really good melodic hook will make a song fly further than all the poignant words you can muster, such as the way the chorus soars on Sia’s Chandelier, the intro to Kylie’s Can’t Get You Out of My Head, or the bridge on Lady Gaga’s Bad Romance.Īt other times, words tumble out of songwriters and fit the melody like a glove. Here, some musical names you might want to consider. Musical instruments, though less popular as names than musical terms, make lovely middle names, including Banjo, Cello, Marimba, and Piano. Similarly, Arcade Fire’s early ascent wasn’t fuelled by lyrical eloquence as much as it was by some really great “Whoa-oooa!”s. Along with Harper and Lyric, other musical baby names in the US Top 1000 include Aria, Cadence, Celeste, Harmony, Piper, and Reed. Sigur Rós have made some of the most emotive music of the past two decades and they sing in a made-up language called Hopelandic. Sometimes, though, you don’t need words to lift a song skywards. Pair that with a great melody and you’re one of the greats. Together with Olivia Rodrigo’s fierce discontent with teenage life and young love on her album Sour (“I read all of your self-help books so you’d think that I was smart” is one in the ribs for her ex and then some), these artists understand the art of painting the big picture in vivid, small-print snapshots. Lana Del Rey’s soporific delivery feels as if she has cast a magnifying glass over the words: has there been a better opening couplet to plant you straight inside an album’s world than “God damn manchild / You fucked me so good that I almost said: ‘I love you’” from 2019’s Norman Fucking Rockwell? Billie Eilish, meanwhile, sings as if she’s whispering her lines down the phone, pulling focus towards her sharp observations on everything from fame to body image. The best songs pull you in beyond their hooky topline, and there is a fresh wave of superstars whose music encourages you to home in on the lyrical content. While a melody can tether you to a song, however, it’s the lyrics that make you want to excavate it. The key rule is that the words have to adhere to a strict number of syllables. He even has a formula that he calls “melodic maths”. For the mega-successful songwriter and producer Max Martin, who has worked on hits including Taylor Swift’s Shake It Off and the Weeknd’s Blinding Lights, lyrics are secondary to melodies.
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