, too. Does that element of production draw up any specific emotions for you that really compels your songwriting? They do seem to be a motif in the last couple of studio albums.
That song was born in Vegas, actually. I met a guy who did have a beauty mark on his face and it was just gorgeous. I found out later that he was seeing someone."Fake Mona Lisa" is like an analogy of like,"Can we? Can you? Can we start something new?" And then I took that concept to Sweden and I got to work with two of my favorite writers over there, Julia and Anton, and they liked the concept of it, too.
"Now I Don't Hate California After All" is another one of those titles that kind of evokes something immediately looking at it. You visualize a beach, you see an image. I mean we wanted the beach-y vibe of Beach Boys, the stoner sort of — where you're following a guy around at the beach and like making love and doing all the things that are very holiday-ish. More allowing ourselves to get as weird as we wanted that day. I can remember Noonie and Patrick and I, we even had written another song earlier that day, we just stayed late into the night because we were having a good time. We were like,"Let's make another one.
Are you one of those writers that comes into the sessions with the lyrics already written, rather than coming in with a blank slate?
carlyraejepsen hello manager of carlyraejepsen I am now waiting for Side C
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