I have nothing against reverb.
FINNEASWhen we are making a song for Billie I want it to resonate and speak the truth with her and want it to be a piece of fabric she can wear.
More Finneas Quotes
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If you’re paying attention and you’ve been a good listener, you learn every day.
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I really value just being able to go out and grab a coffee or going to a movie and not have anyone recognize me.
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I feel like a lot of music producers have, like, the same toolbox. And I think, like, to me, as a producer, like, I want something to set my stuff apart.
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You know, I grew up very self-taught.
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All the albums that I grew up listening to were produced by one person.
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What I really didn’t want to do is work with other people and have them go, ‘Oh, Finneas just does that sound for everybody.’ The Billie sound is only Billie – I’ll only do that for her.
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I had a very positive, wonderful, happy upbringing, and still, for several reasons, I really didn’t enjoy being a child very much. I felt that I had no control over my life and everything seemed scarier and larger than life.
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I don’t analyze songs because I think it will make me a better songwriter, I just do it out of sheer curiosity.
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A lot of the time, in pop music especially, there’s reverb. And the reason is that reverb makes vocals sound better 99% of the time. It makes the notes ring out.
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Working on TV shows was fun, but I felt crazy pressured and stressed.
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When we are making a song for Billie I want it to resonate and speak the truth with her and want it to be a piece of fabric she can wear.
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There’s no other person I like working with as much as my sister.
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In my perfect world, I get to be a professional musician and still go to Trader Joe’s.
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There’s always a better word than a swear word.
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Well, predominately, if I’m writing for another artist, I’m sitting there with them and we’re writing it together.
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It’s important to recognize when a song remains important to you.
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Imagine if somebody was like, ‘Who’s the next Timothee Chalamet?’ It’s like, he’s currently Timothee Chalamet.
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I don’t particularly like recording studios, they tend to be lifeless and without any natural light, so I wanted to record wherever we lived. We just don’t want to be bound to a studio to who we’d have to pay untold sums to.
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I feel like you’re able to be your most creative in private environments, and not a studio where an A&R person is coming in, telling us a song isn’t a smash.
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The music that I listened to when I was growing up was the most important to me forever.
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When I wrote ‘When the Party’s Over,’ it had a universal quality.
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It’s always important to be checking in with people you love.
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The way that we tried to approach every piece of music is, if the song had a brain, it would be aware of its catalog.
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We were a very crunchy, sort of hippie-dippy family.
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The amount of times I’ve been told something by artists I’m working with, which I’m sure they haven’t told even their significant other or families, is shocking.
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If you’re thinking about all the possibilities of your life, there are extreme negatives, which you hope don’t happen, and extreme positives, which you just aren’t willing to think about because you think you’ll jinx it.
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