I think the best songwriters in the world just have an innate understanding of when they’re finished. I can go on and on and on and hear different parts, especially when we play live, I always feel like there’s more we can do to lift it, make it bigger, make it so euphoric that people freak the fuck out.
How do you know when you’re finished with a song? It’s so you can have room to play around and not alienate too many people. It’s 2009 again.” And then all of the sudden I start singing from the perspective of my grandparents and I’m singing in my low voice and everyone’s like “What?” I definitely wanted some left turns, but not without giving at least a bit of what people wanted and expected. I was like, “Everyone’s going to talk about the lead line and how it’s just a normal Passion Pit song. I kind of fuck around with “Take a Walk.” It was a joke doing that lead line. And you’re going to alienate people no matter what you do so it was about coming to terms with that.Īll of them are essentially different sounds within what someone would deem a “classic” Passion Pit song. They’re the reason why you have another record, and you want to give them something interesting and fun and new and exciting. They’re the reason you’re in the studio in the first place. You’re catering to your audience in a way that’s not placating. We were literally dealing in so many different styles and avenues that could have taken us in a whole new direction and been very successful, but I decided to not stray too far from the original sound. That was the hardest part, deciding what I wanted it to sound like. After I did that, I didn’t write the same song twice, but it helped me move forward. I think what happened was I was writing so many types of songs that were not congruent in any sense that finally I came to terms with what a Passion Pit song was. Then there’s the whole other route where you can totally scrap everything and start over.
There’s a certain expectation for what a Passion Pit song could sound like and there’s a certain world that I can dabble in without straying too far.
Michael Angelakos: It was deeming what parameters were or are for Passion Pit. Mike Hilleary ( Under the Radar ): What was the biggest challenge for you working on Gossamer ? Be sure to check out both the print and digital versions of our Summer Issue for much more from our interview and shoot with Passion Pit. Speaking at length, Angelakos discusses the challenges of his own songwriting process, the subverting power of pop, and why a good crowd is one of the few reasons he still enjoys playing live.īoth the print and digital/iPad versions of the issue also include more frames from our photo shoot with Angelakos. Having made it through the more difficult portion of the interview, the part where the making of Angelakos’ new album Gossamer collided head-on with his own personal instability, we’ve turned to more “fun and interesting and intellectually stimulating” topics, bringing with them a much-needed sense of levity. On a hot, New York City summer day the mood of Angelakos becomes increasingly more upbeat as our particular conversation progresses. The focus of this part of the interview is decidedly on Passion Pit’s music and the creation of Gossamer. In that article Passion Pit frontman and principle creative mind Michael Angelakos discusses his much-publicized struggles with depression and the emotional rollercoaster he went on while making Passion Pit’s just-released acclaimed sophomore album, Gossamer.īelow are extra portions of our interview, quotes that didn’t make it into our main print issue article on Passion Pit. There’s an article on Passion Pit in the print version of our Summer Issue of Under the Radar (aka The Protest Issue).
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