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You can get too bogged down in technology and you can sort of forget what it is you were trying to do. And with the Pet Shop Boys it's primarily about the songs, it's about song writing.
I intend to keep writing Christmas songs. There's still a lot more about Christmas that can be captured and feel like old-time Christmas. A lot of the traditions haven't been explained in song.
In Torch Song, I did that character almost non-stop from 1978 until I made the movie in 1987. Then I had some failure, which also colors how you react to doing other things.
His own opinion, which he does not air, is that the origin of speech lie in song, and the origins of song in the need to fill out with sound the overlarge and rather empty human soul.
If your songs connect with the fans and they pump their fists in the air and go "Yeah!!" that's when a song really works. That's the electric church of it. The glory hallelujah of it.
I don't feel I have to write deep and meaningful songs; they can be light and meaningless. It has to do with the place I am in my life, a really good place.
I'm an extremely slow worker, very unprolific. It can take me weeks to do a three-minute song, or at least to make it sound, in my mind, like I haven't written it. That's when I'm satisfied.
There's a lot of reflection that goes on whenever I write a song - it's been a wild whirlwind last couple of years and there's a lot to talk about, and hopefully that's evident in the music.
So it was just a case of getting a bunch of songs that I had been writing for years but hadn't recorded together, and the result was My Own Best Enemy.
The song can be a little bit more of the mystery and leave the whole thing open ended. But there's something really gratifying about saying exactly what you mean.
I was wildly out of style when that television theme song suddenly pushed its way onto the Top Ten. It was certainly not the record company trying to make that happen.
Pain is a common emotion in many of my songs mainly because I often don't know other ways to express it adequately. In my songs I wrestle with the things that I don't understand.
The first song is called 'London.' It's about two Russian soldiers who desert the Russian army and escape to London, where they indulge in a life of crime.
New York Times v. Sullivan was about the suppression of speech in the South [during the 1960s]. Today's version of suppression is just another verse of the same song.
I try to write songs just for the song itself. I don't try and think about where it's going to end up, that way you're writing for the good of the song.