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.
As soon as you make anything that people like, you get all these new artists hitting you up like ‘I want to sound just like Billie Eilish.’ And I’m always like, ‘Absolutely not.’
My dreams as a kid were so far below the Grammys, like, maybe selling out a show, or, like, seeing your album on a shelf in an Urban Outfitters… and the Grammys are so far above that. It’s very ridiculous.
I feel like the thing that I’ve learned a lot is when you’re involved in something, you don’t always get to appreciate it for what it is as much. You’re focused on the details and how you can make it better. It’s kind of torture.
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.
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.
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.
