I was like, “You know what? I want to write a song for him.” It lands right in the middle of the album. It’s a song called “Margaret,” about Jack Antonoff’s fiance. But dude, this has been done for a year?ĭEL REY: September 2022 was the very last song I wrote. When they said you wanted to do it, I was so happy.ĮILISH: I can’t believe you even thought of me. I was nervous about the interview, because when me and Mel talked about it, I was like, it could only be only Billie or John Waters. The shoot we just had, that was the biggest production I’ve ever been on and it went so well.
It’s all about the process, not so much the results. Then, as things started to leak, I thought, “You know what? It has been done for a year, so I’ll just move ahead with it.”ĭEL REY: I feel differently on different days. It brought back all this weird tension of, “I know it’s not about money, but what else are they seeing if they can somehow transcribe all the words in the song?” I started getting nervous about peripheral things, and then I told everyone I wanted to wait until August because I wasn’t feeling ready. Then, things started leaking and I wasn’t sure how. So that started building one element of the sound for maybe one-fifth of the album.ĭEL REY: For those nine months, I was as comfy as could be. I would talk about wanting a little bit of a spiritual element and we talked about working with Melodye and Pattie and a couple of women who had toured with Whitney Houston, which was just unfathomable to me that I could be in the same room with them.
#Mood ring streets of rogue iso
Mike was like, “I’ve never been in a studio, so I don’t really feel like I should be a session player.” And I was like, “I know it’s a lot to go into that ISO booth and play what we have been playing for fun, but just try it.” Then Drew would come in and record these beautiful strings. Later, I found out they were composing for all these great people like Weyes Blood and Father John Misty and Pink Floyd. After five months we went into the studio with the guys I know from Echo Park, like Drew Erickson, Benji, and Zach Dawes. One day, I was like, “Do you think I could record that?” Then I’d sit down and start singing.
Every Sunday morning, he’d lie around and play these licks on his guitar. At first, I was super excited because I started it with Mike Hermosa, a DP and cameraman who, as far as I knew, was not a musician. How are you feeling? Are you dreading it? Are you excited? Are you nervous?ĭEL REY: All of it, as usual. We’re here to talk about you, for the love of god. It’s crazy to have that magical quality.ĮILISH: Lana, please. You can tell she’s kind.” It didn’t feel like you were aspiring to be anything.
I remember seeing the first videos of you singing and I said to my managers, “She’s the one.”ĭEL REY: I was like, “This is the girl. I’d film myself covering your songs and pretend that I was gonna blow up on YouTube from them, and then they’d get two views.ĭEL REY: Well, later in life. I sang “Brooklyn Baby” at the last one I did. I was all up in the talent show singing your stuff.ĭEL REY: Do we have any footage? ĮILISH: Oh yeah. I grew up homeschooled, but we still had…ĮILISH: It was pretty tight, but we still had talent shows even though we didn’t have a school. I am absolutely stoked out of my fucking mind.ĮILISH: You were my lock screen on the first phone I ever got.ĮILISH: I knew for months before I got my first iPhone that it was going to be that fucking photo of you with the bee on your lip.ĭEL REY: You know what’s funny? That bee picture was for Interview Germany.ĮILISH: No way. LANA DEL REY: How’s it going, sweet girl?īILLIE EILISH: Lana, dude.
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