This song is like archeology
I'm gonna brush away until you see the skull of the dinosaur
I remember writing the chorus
The verses were about, kind of like, how do we justify
How fucked up and mean that chorus is? (Mm-hm)
Billie had come in and was like on this, like, she'd like-
She was, like, juiced, she came in from the (no, I was really-), from the gym
She was like, I need something to, something to lift to or whatever (for real)
And we made this thing that was-
And she started screamin' in the mic (from the autotune mic)
And we threw the autotune on
At that time, we had just come up with, like, random lyrics (yes)
That were, like, totally nonsensical and not about anything
And I remember we had this feeling once we started to kind of-
'Cause I love a production tapestry for a record (hm)
Drum sounds (hm) and synths that I've, I've put across the whole album
Thing's, like, over an hour, which is why we initially called it
Well, Finneas was like, "We're not putting that on the album"
I was like, "We're not putting that out," and I was like, "If we do
I'll reproduce it in a place where it's like, maybe it's the same tempo
But it feels more in the same wheelhouse of everything" (hm)
It feels like it's part of "L'Amour," but it's completely not
It's like about a completely different thing
We made the original one in, I think, November, October
And then we rewrote it
Like, right before we finished
It was, like (right), one of the last things (yeah, over a year later)
I've always loved, like, songs within songs within songs (mm-hm)
Like a thing where it's like
"Is this a song that the person singing this other song is listening to now?"
You know what I mean? (Right)
And it kind of has that feeling, you've kind of just listened to Billie
She's so heartbroken in "The Greatest"
And then she sings this song that's like the anti, the antibody of, like
"You know what, fuck you anyway"
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