As a found sound band, Sylvan Esso find inspiration everywhere, from appliances to well pumps to fast food sauce dispensers. Even hold music is fair game.
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For Mia Berrin of Pom Pom Squad, how a song looks is as important as how it sounds. And her latest album Death of a Cheerleader looks and sounds like red.
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A move to Upstate New York has given Derek Miller of Sleigh Bells two boons to his creative process: football and the chance to get really, really loud.
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A good songwriting process for Emily Scott Robinson involves bank pens and vacuum cleaners.
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Debbie Gibson thanks The Song Fairies—and sometimes a carousel horse—for the zen-like calm that allows her to write so many iconic songs.
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When Martin Sexton is in a rut, he drives his internal editor crazy through utter chaos: two radios playing two different songs simultaneously.
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Andrew Marlin of Watchhouse (FKA Mandolin Orange) gets his best writing done between midnight and 4am.
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Morgan Wade’s songwriting process doesn’t involve a lot of sitting around. But it does involve some really early mornings. And I mean early.
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Steve Gunn’s songwriting process never stops. Even when he’s not writing, his receptors cast a long throw over his environment as he mines for ideas.
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BJ Barham of American Aquarium and poet/novelist Joe Wilkins discuss the powers of poetic observation and why reader empathy is important. And listen to BJ explain why he’ll never write a song about pancakes.
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