I would love to do a collaboration with Lil' Wayne. I would have loved to sing on his song, 'How To Love.' I wanted to do the remix to that song really bad.
I was invited to L.A. when I was 16 for a weekend-long songwriting session by a writer I had met through my voice teacher in Pittsburgh. My first hit, 'Hide Away,' was one of the songs written during those sessions. It was played for a radio rep who then started a new label; the song got a pretty organic start at radio and then took off.
Much of my experience with language was formed in the church, which has an oral tradition. There are lots of repetitions in prayers and song refrains. There's a sense of incantation, that if you call not once and not twice but for a third time, the spirit appears.
I'm not the type of guy to go so deep with the concept songs, but there's deep thought in everything. Maybe it's not just a repetitive hook telling you what the song is about - you have to use your brain a little bit.
I consider the piano my 'main' instrument and have been playing for as long as I can remember. It seems to me that I might have come up with something resembling a song as early as 4 or 5 years old.
My original goal was to get into the Top 100. I listened to every song in the Top 100 every day. I knew them all - this is where the gods reside.
When you sing a song of love, you're actually giving something to yourself, too. You're singing and casting these affirmations of love out into the universe. It resonates in your body in a way that feels extraordinary.
We never thought 'Say Something' would be a holiday song. I'm still surprised that it's resonating at this time of year. Maybe that's why it's working so well - it balances out all the joy.
I will safely say that I prefer singing a song in a stretch if I am allowed to. A lot of times, I do choose to and do sing the asthayi and antara in one take, respectively. And I give a few takes until I feel it is perfect.
What I saw in the record industry is it's just getting more restricted, more restricted, more restricted to where everyone's trying to figure out what kind of song to make to get on the radio: that's researched and where advertisers are telling you what to play.
Because my musical training has been limited, I've never been restricted by what technical musicians might call a song.
I studied Shakespeare in college, but not theatrically, more in terms of literature, and then I kind of took a break from it. Now there's resurgence in my appreciation for him. It's amazing: there are so many book titles and song titles that come just from lines that he wrote.
I write a lot, and very often I write a couple of lines that are particularly revealing in some kind of way. And then as a few more lines get added and a piece gets added, eventually the song pretty much takes over and you can't really find a way to change those things.
I have all these revelations as I'm writing. Each song is like a chapter of my diary.
My favorite song is 'Cybele's Reverie' by Stereolab.
At the same time all this was happening, there was a folk song revival movement goingon, so the commercial music industry was actually changed by the Civil Rights Movement.
You have to keep challenging yourself. I've always tried to do that, and I'm not saying I've always been successful. Maybe I've rewritten the same song; it's inevitable, but I've always been mindful of taking the writing somewhere else. You can't stick in your little comfort zone.
It excites me when a person puts their whole self in a song or rhyme, or instrument. It fills me.
A lot of the lyrics I write involve images that just swing the song in a way that feels really good to me and there isn't a literal explanation. They're not riddles for the listener to solve.
I kind of always struggled writing in Malay, because Malay is such a beautiful language. And it gets really hard, you know, if you want to make it into a song. You have to make it sound beautiful, use the right words.
