I certainly understand that we're all trying to make a living, but I'm not thinking about that when I'm making it. And if that's your sole motivation, it's going to reflect that narcissistic greed and you're going to hear it in the music.
But I can't confront the doubts I have. I can't admit that maybe the past was bad, and so, for the sake of momentum I'm condemning the future to death so it can match the past.
What's interesting to me is drama and conflict. Things aren't interesting without conflict and resolution of conflict - or striving towards a resolutions of conflict.
Everybody kind of understands, Oh yeah you take drugs and it does something to your brain and then you can't stop. It's easier to describe that shame, that horrible feeling of not being able to control your own life.
I probably would've kept slogging on that same chord change, because there's a tendency to have that happen. You get into the cadence in your mind, and it's hard to make the kind of left turn that you probably need to keep it really interesting.
The moth don't care when he sees the flame
He might get burned, but he's in the game
And once he's in, he can't go back
He'll beat his wings till he burns them black
No, the moth don't care when he sees the flame
The moth don't care if the flame is real
'Cause flame and moth got a sweetheart deal
And nothing fuels a good flirtation
Like need and anger and desperation
No, the moth don't care if the flame is real.
If you're an artist trying to put out your own record on your own label, it's hard to get a distribution deal because no one wants to sign a deal with one entity. They want to sign distribution deals with labels, who have lots of product, lots of artists.
For me, there's a fine line between telling a story that's fictional with lots of details and then removing yourself too much from it, so it's bloodless, a little too fictional.