Back in June 2016, Alaina Moore of Tennis (whom I interviewed for this site) emailed me about a new band she discovered. She wrote, "I just found a band called Big Thief with a debut album, Masterpiece. It's unbelievably good, and the song "Real Love" has a guitar solo that literally made me cry."
That guitar solo is played by Adrianne Lenker, Big Thief's vocalist, guitarist, and songwriter. Since Masterpiece's release last year, the band put out Capacity, and on the strength of those two incredible albums (both on Saddle Creek Records), the band has leaped to the top of many critics' short list of best new bands, or just best bands period. And for good reason: the music is powerful and Lenker's lyrics are intensely personal. Much of this has to do, I think, with how Lenker travels through this world. She treats everything she sees and everything she hears as a work of art. The world is her palette. "My mind puts frames on everything," she told me.
Evan Felker, songwriter and guitarist for Turnpike Troubadours, has his own version of the nuclear football, the bag that never leaves his side when he's on the road. It contains everything he needs to write a song: his laptop, a composition notebook, and a legal pad. Each serves a specific purpose. The legal pad is for song ideas and random lines, and for this he uses a pen. The composition notebook is for the lyrics, and for this he uses a pencil. Then the computer is where the fully formed song takes shape so that he can copy and paste to see where the lines work best.
As you may have read in the last few days, Turnpike Troubadours have a new album out October 20 called A Long Way From Your Heart. Felker details some of his songwriting process behind the new material in our interview. He decided to write songs with a narrative bent filled with fictional characters inspired by the people he's known throughout his life. Many are from the area around southeastern Oklahoma where he grew up, from places like the factories and mills he worked after finishing tech school. Felker co-wrote one of the new songs on the album, "Come As You Are," with his good friend Rhett Miller of the Old 97s. (I interviewed Miller a couple of years ago, and I have to thank him for putting me in touch with Felker.) Here's what Miller recently told me about Felker...
Yukimi Nagano of Little Dragon is a book hoarder at her local library in Sweden. She browses the stacks across all subjects, from photography to poetry to flowers. Then she walks out with as many books as she can carry. When she gets home, she peruses those books for both words and images. Sometimes the words make their way into her songs, and other times the images give her ideas to spin off of. "It could be a book about flowers, for example, and I might find a beautiful name for a flower that could be a song title," Nagano told me. And when she gets home, she does most of her writing in the kitchen. There's something about the "nice, soothing hum" of her refrigerator that's conducive to her creativity.
For today's interview, I have a companion. Last November I interviewed Theresa Wayman from Warpaint. It remains one of my favorite interviews. I recently read that Wayman was a big fan of Little Dragon, so I asked her if she wanted to interview Nagano with me. She gave me an enthusiastic yes, and somehow we made this happen: I was in New York, Wayman was in Rhode Island, and Nagano was in Sweden. We had a fantastic discussion about the creative process.
"Adjectives and adverbs are not what we need to be singin'," Tift Merritt told me during our interview. Like any good songwriter, the Grammy-nominated artist favors economy of words and simple language in her lyrics, just as two of her biggest literary influences are Cormac McCarthy and Raymond Carver. "A lyric needs to feel as if somebody could've spoken those words while standing in line at the post office," she said.
Merritt studied creative writing in college and has been writing across genres for a while. Songwriting is just one of her many creative outputs. But while Merritt might favor economy of language in song, her description of her writing process is filled with metaphors. She talks of "rolling around" in her creativity during the early stages of the process and of discarded song ideas as "pebbles on the trail to the next idea." She typically spends her mornings on words and her afternoons on music, because the lyrics require the sharpness of the morning. After lunch, Merritt says, that's when "you invite an instrument to come sit down with you."
John Darnielle of the Mountain Goats was nervous when he saw the word "process" in the title of this site. Process implies routine, and Darnielle doesn't really have a routine when it comes to songwriting. In fact, he eschews the idea. If he writes every day, it's a descriptor of his routine rather than a mandate. Keep a journal? Heck no, because Darnielle feels pretentious writing about himself. Darnielle wants to demystify the songwriting process; he doesn't want to see it as something that only happens when certain factors align. He considers songwriting, or any creative. (As you'll read, Darnielle isn't too keen on the idea of writer's block.)
That's not to say, of course, that when things are going well he won't stick to what works. For example, he wrote almost all of All Eternals Deck at his dining room table "because it just seemed to be coming out good there." He likes a certain kind of writing instrument and a certain kind of notebook. And he's stick with one guitar, even if it's not the best one, "if it seems to be giving up the goods."
By my count, Sylvan Esso's Amelia Meath is in the middle of reading seven books now. She's reading poetry, fiction, non-fiction, plays, a biography, and I'm sure some others she didn't mention in our interview. I was not surprised when she told me this. Follow Meath and her bandmate Nick Sandborn on any form of social media, and you'll see creativity everywhere. Meath is of course known for her work now in Sylvan Esso, but there's much more. She loves acting and even went to college to study it. (This is not a surprise if you've seen her lithe and theatrical stage moves). She loves to make collages. And she wants to start writing a tv pilot. Oh, and she once did a ton of freewriting about LeBron James.
Meath's songwriting process involves some routines, even though she does most of her writing "in the air." She eschews computers and prefers pen and paper for her lyrics. But not just any pen and not just any paper: for now it's a Poppin pen and college ruled composition notebooks. Part of her lyrical process involves writing the same verse over and over; in fact, some of her notebooks are filled with just one song.