Because each song exists in such a different world and has such a distinct sound and…well I guess to each their own! The worst thing was when I saw someone online somewhere saying that they thought every song on it sounded the same – which honestly baffled me. We really made it with that in mind, and I in particular am an album person who loves to really spend time with a great album and go on a journey with an artist – so to know people got that experience from an album we made was really special for me. J: The best thing is hard to single out, but it’s all the tweets I’ve seen of people who said they love it front to back, they love spending time with it. What was the best and worst thing you’ve heard about it? It’s been out a while but we’d still like to talk about Act One (which we loved, obvs). We’re not defined by songs like I know why and same thing, but they certainly became necessary textures. They’re still not autobiographies, but influenced. I literally invoked WWMHD (what would Marian hill do) in a situation and I’m much better for it! I actually felt totally empowered and emboldened, and told myself I need to call on her more often! Deep was probably the start of it, but (and I’ll speak for myself here) I think we found it increasingly difficult to leave our experiences out of the Marian Hill narrative. The more we performed, the more we experienced, and the more I feel like I tapped into the boldness of Marian Hill. We felt what it was like to have buzz and also lose it, we played to 20 people and played to thousands. Between Whisky and Act One we found love, lost it, (Jeremy found it again!) and toured all over the country. I think with time, and in writing Act One, we allowed a little bit more of ourselves and our experiences to creep into the lyrics. While that was a joy to develop, personally it was often challenging to perform and live up to certain expectations, and it became increasingly difficult to write for (as Jeremy mentioned).
She is this dominant, fierce, confident woman who can wrap anyone and any situation around her finger. S: Unearthing the character of Marian Hill that largely defined both the Play and Sway EP was really fun. Sound could go and really pushing ourselves to make every song sound different from the next, and be its own unique world. And that was the process up to ACT ONE – seeing all the places our And fortunately at that moment we’d also been writing together so much and learned so much that when we stopped trying to write into that Marian Hill box and just started writing stuff that we both loved and responded to and got excited making, it sounded like Marian Hill because it was coming from us. But then we reached a point where we were trying so hard to write songs that sounded like us that we started writing ourselves into a box and found that new songs were sounding like not-as-good versions of songs we’d already written.
#PLAY DOWN BY MARIAN HILL ON PIANO HOW TO#
We knew Whisky was something special and unique, and it was theīest beat I’d ever made by a MASSIVE margin, so we had to figure out how to follow that up, and what the rest of the music made by the band that made Whisky sounded like. When we first came out, and this encompasses pretty much everything up to the Sway EP, we were writing to figure out what our sound was. I see the evolution of our sound in two distinct phases. That was an incredible opportunity and we truly would not be where we are right now without you all. J: Well first off want to take this moment to thank you guys for that support – we were so fortunate to have a lot of support from you and other blogs like you who took a chance on an unknown artist and gave us the confidence and the platform to really dig into But how do you think you guys (and your sound) have changed since then? We have to be a bit self-aggrandising here and say we’ve been fans and covered you from day one.
Everyone else is sleeping but I can’t seem to settle in. S: Writing on two hours of sleep, currently in the van and en route to D.C.