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  • Singing: “A woman’s touch.”

  • Hi, twigs.”

  • Hi.”

  • Singing: “A sacred geometry.”

  • “‘Mary Magdalenewas a bit of a pain in the ass to make.”

  • Singing: “I know where you start, where you end,

  • how to please, how to curse.”

  • “I think it’s like the most complex song I’ve ever made.”

  • She’s the perfect person who could

  • out me for not doing anything, because she does everything.

  • She’s like tap dancing, on a pole, swinging swords.

  • It’s crazy.”

  • What was it like the first day

  • you guys actually sat down to work?”

  • She’s unlike any other artist you work with.

  • Shell bring a little potions and, like, readings.

  • And she was like, do you know about Mary Magdalene?”

  • The original story is that she was a prostitute,

  • and she was filled with sin.

  • But then it came out that she had

  • a really amazing and extensive knowledge on oils,

  • and she was a healer, and she was in many ways

  • what we call a doctor now.

  • I think that that duality really excited me.

  • That is my archetype.”

  • She was talking about using the story about

  • Mary Magdalene for her music.

  • She was very determined to go down this path.”

  • “I’d just had some surgery.

  • I had fibroids in my uterus.

  • I was in a period of deep healing and rediscovering

  • my sexuality.

  • Mary Magdalene helped me ground myself in who I am.”

  • Before I knew it, we were drinking the Kool-Aid.

  • I was believing whatever she said.”

  • And I think she just started singing

  • with no beat or anything.”

  • Singing: “A woman’s work.

  • A woman’s prerogative.”

  • Cashmere, I think he laid a harmonizer behind it.”

  • "She wanted it to sound very Gothic, but also very

  • futuristic at the same time.”

  • “I just thought of this melody.

  • And I was like, ‘Oh my gosh.’

  • I was like, ‘That’s crazy.’

  • LikeMary Magdaleneactually fits into that.”

  • Singing: “Mary Magdalene, creature of desire.

  • Come just a little bit closer to me.”

  • With her, a lot of the things we used

  • are, like, little clicks in her voice.”

  • Harmonies.”

  • Drawn-out notes that are tuned down.”

  • Shell be like, it should be like, ‘Wah, wah,

  • brrr-rum-pum-pah.’

  • You know, shell do [expletive], and youll just be like, whoa,

  • and youre just trying to program it quick enough.”

  • Singing: “I fever for the fire.

  • True as Mary Magdalene, creature of desire.”

  • “I just remember really loving this song,

  • being at Benny’s house, realizing in that session

  • that the name of my album wasMagdalene.’

  • And then I was working in this other house in L.A.

  • that was haunted and quite stressful, actually.”

  • We just spent, like, two weeks

  • ripping the song apart, and rebuilding it,

  • and it not really working, and then ripping it apart again,

  • rebuilding it again and again.”

  • “I think I broke a lot of songs in that haunted house.”

  • There’s so many versions, man.”

  • "Do you have any of those early versions you

  • could show us?”

  • Singing: “Yes, I heard.”

  • Where Benny’s version was very clear and very focused,

  • we really cluttered it.”

  • Was she frustrated throughout this process

  • or was she exhilarated by it?”

  • Oh, no, she’s just excited.

  • She’s like a kid

  • ‘I want to try that, can we do that, can we do this?’”

  • “I love practicing stuff.

  • How many different ways can you do a cartwheel?

  • You know, like can you do a slow one?

  • Can you do it on your elbows?

  • Can you do it fast?

  • Can you do it with no hands?”

  • We sat down once and she was like,

  • I want the sound of witches burning at a pyre.

  • And I was like, right, O.K.“

  • Do you think because it was the title

  • track and the centerpiece of the album,

  • you were overthinking it?”

  • "I wasn’t overthinking it, I just

  • don’t think I was treating it with enough sensitivity

  • in the beginning.”

  • Did that end up on the record anywhere?”

  • No.”

  • Then there was another stage with Nico.”

  • So what did Nico do to fix this song?”

  • “A lot.”

  • He did a lot.”

  • Is it a strange thing, like youre

  • coming into someone else’s house

  • and rearranging the furniture?”

  • It is strange.

  • But you know, I come from dance music.

  • And I did so many remixes.

  • And it’s just the same thing.”

  • We were in Electric Lady.

  • It was like 3 o’clock in the morning.

  • And we went down into the big studio,

  • and it was where Prince had recorded all this stuff.

  • And it had a purple board.

  • So it felt really special.”

  • There’s just definitely some spirits in there,

  • speaking through.”

  • WithMary Magdalene,’ every other session had always

  • been, like, a full-day session of ‘O.K., no. Mute that, O.K.,

  • no. Take it out, O.K. Put that in, O.K.

  • Let’s try a guitar,’ you know, all this stuff.

  • Whereas the end ofMary Magdalenewas the opposite.

  • It was complete calm, and there was just

  • this magic kind of like 30 minutes to an hour

  • when Nico just, likehis energy

  • just grew in the space.”

  • “I remember redoing the chords.

  • Then I started feeling a bit more like that there was

  • a direction or something.”

  • As soon as it had a darker feeling,

  • that’s when it actually came to life.

  • He just went on his computer, and he just

  • made all these incredible stretchy sounds.”

  • “I had coffee, and I don’t drink caffeine.

  • So maybe I was a little crazy.”

  • “I just had this idea that I wanted it to bounce.

  • It’s just like the wrath of Mary.”

  • He found a hardness in air.

  • And that felt truly like evoking her spirit.”

  • Do you dance, do you jump around

  • when something finally hits?”

  • No, I don’t think I did on that,

  • because I didn’t want to

  • you know when something’s happening in front of you,

  • and youre just like, just nobody move,

  • everyone stay really still, no one change anything,

  • no one even put the air con on.

  • Everything has to stay exactly the same.

  • It was kind of one of those moments.”

  • Singing: “Creature of desire.

  • Come just a little bit closer till we collide.”

  • Can we kill the cat?”

  • Nope.”

  • For a little while, please?”

  • “I just don’t know if there’s a way for me

  • to do this and be comfortable without the cat.”

  • Really?”

  • Yeah.

  • Yeah, I’m a little shy.”

  • You look so good, though.”

Singing: “A woman’s touch.”

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FKA twigsはどのようにして彼女の「これまでで最も複雑な曲」を作ったのか|歌の日記 (How FKA twigs Made Her ‘Most Complex Song Ever’ | Diary of a Song)

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    林宜悉 に公開 2021 年 01 月 14 日
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