Ironically, this album of light was born from one of the darkest times I've even been through. But rather than running from the pain, I wanted to meet it face to face. And somehow these scars began to turn into songs. What are my struggles? What are my fears? Where do I find God? Or maybe more aptly put- where does God find me? It's all in the songs. And instead of becoming the dark introspective record I thought it would be, this album became a place of joy and solace for us. A resurrection of faith and hopes and dreams that I had left for dead a long time ago.
In almost every way, WTLST is the direct opposite of our previous album "Fading West." For "Fading West" we were trying to create music that would match the visual content of the movie, searching for new inspiration off the coast of Australia, New Zealand, South Africa, and Indonesia. In contrast, WTLST is an attempt to dig deep into our own soil. Instead of looking for inspiration in foreign oceans, this new album is searching to find our own song buried deep within our own wounds. After travelling around the world to create our last project, this album felt like a welcome return to our San Diego roots
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I still can't believe that we've recorded our 10th Album as a band. 10 albums!? It's unreal. It's humbling. Its crazy. It's remarkable. Even more remarkable to me is the passion that we still share for the music, for throwing our full weight into the creation process. I've seen a lot of bands come and go but I'm still convinced that being Switchfoot is still the best job in the world! Playing these songs night after night, attempting to express the hopes and fears, the joys and pains of being human. What an honor! To call this my occupation, my means of making a living? Maybe obsession might be more on point. After hundreds of songs, we're still searching for a better way to say it. Looking for the words, different combinations of the same notes. Attempting to express timeless, transcendent truth in a new way.
But when I think of what I'm the most thankful for, it's not the songs or record sales or any of that. Above all I'm most thankful for the brotherhood that has been created over the course of the past nine albums. Sure we fight and disagree form time to time, but we fight like brothers. And underneath the tension is a genuine friendship that will outlast the disagreement. Tension and release, dissonance and harmony- the band that has become our brotherhood is not unlike the record itself- an honest attempt to turn the struggle into a song
And that struggle is epitomized most by the title track. The lyrics certainly speak directly of the broken prayers of honesty and humility, of embracing the scars and wounds that unite our broken human tribe. But even the recording process of this song is a story of redemption. Early on in the recording process, we tracked a "demo" of this song. Demo's are meant to serve as a rough sketch of what the song could be- they are imperfect, quick, unrehearsed and loose but they inform you in choosing which songs to record properly for the album.
Early one morning, just before we completed the mixing on this record Tim came into the room with a bold, (and unwelcome) opinion. "I think the demo is better." That's not a popular statement. "Are you saying we should scrap the day and a half's worth of work that we did to re-record the drums, the bass, the guitars, the vocals, the keys, and everything else? Are you saying that the first time we ever played the song, with all of its idiosyncrasies and mistakes was a better version?" Yup. That was exactly what he was saying.
And he was right. That first demo captured the sentiment of the song and even the sentiment of the record better than the version that was more properly recorded. So what you hear on the record, however, is not the song that we tracked for the album- instead you hear the demo. Five guys in a room playing a song that they barely know- with joy, abandonment, and mistakes included.
The Pop Song Professor project is all about helping music lovers like you to better understand the deeper meanings of popular song lyrics so that you know what your artist is saying and can enjoy your music more.
I should preface this by saying that I'm a huge Lorde fan, but I won't let that color my explanation and analysis of her song. Pure Heroine was the first time, personally, that a new album came out that I could listen to straight through and then start again. Every song on that record was amazing, and I loved them all. It opened me up to the new experience of listening to an album as a whole, which is more difficult than you might think in a world that runs on singles.
After a few listens through, I think most people will understand that the overall idea of "Green Light" is heartbreak, the ending of a relationship, and the inability to move on until the narrator sees that "green light." That's the main idea of the song, and it's accomplished masterfully through the anecdotes, symbolism, and music of the song.
To speak on the music for a moment, "Green Light" begins like many other Lorde songs--low, dark, and intense--perhaps proving to us that she's still the same artist. But the pre-chorus ushers in a bright bit of piano that lightens the mood and suggests the moving on that she's so eager to do in the lyrics. That portion also proves to us that she's ready, perhaps, to move on as an artist and that she has more tools in her kit that some might give her credit for after Pure Heroine.
In any case, the musical element of the song does a wonderful job of supporting the lyrical meaning. And as far at that lyrical meaning goes, I think it's one of the better-developed explorations of heartbreak that I've seen. Lorde has confirmed that it is about heartbreak in an interview on Beats 1 Radio:
For being a heartbreak song, it doesn't give away the story too easily, it gives an actual personal perspective, and it sets the heartbreak inside of the larger narrative of recovery so that we aren't encouraged to relish those painful loss-based emotions. "Green Light" may not be deep on the surface--ironic sounding I know--but compared to other heartbreak songs' usual sappy emotions and one-dimensional sound, you're going to find quite a bit to grapple with here.
He had, apparently, told her that he "would always be in love" with her, but he no longer is, and she's angry at him for now. She wonders if it "frightened" him when they "kissed" and "danced on the light up floor." Apparently, it was an intense emotional moment for the two of them, and she suspects that maybe it was too intense for him. Perhaps it felt too much like emotional commitment.
Concerning that second theory, I think it would be almost too much of a coincidence for this song to mention "new sounds in my mind," be the lead single for a long awaited album, and then to not be a reference to that new music. That doesn't make it conclusive, but these lines do make me suspicious.
When Lorde refers to seeing her ex "'ever I go" and "down every road," it's going to be difficult for her to do so, but she'll make it because she's "waiting for it, that green light . . ." Several listeners have theorized that the green light in the lyrics and title is a reference to the green light in The Great Gatsby by F. Scott Fitzgerald, which is a reference to the hope of the future (among other things). As exciting as that would be for me, Lorde has responded on Twitter, "not a gatsby ref actually! More like standard traffic light type meaning of green light :-)"
The green light here then evokes the image of her waiting in a car at a red light waiting for the ability to move past this relationship and to be her own person and explore new things again. She'll get there--the light will come--but it just takes time.
Essentially, Lorde has officially ended the relationship and will be getting her things, but emotionally she still feels conflicted and confused. She's trying to figure things out and has found her "green light" yet even if she wants it badly.
This verse, while shorter than verse 1, refers to the same things. The line about "a different bedroom" is again, like the first line of the song, telling us that Lorde is either with someone else or at the least separated from this fellow. It's a reminder to herself or a bit of narration for us. The lyrics about whispering and the city seems to refer how she knows he's going to hear about what she's doing. People will talk about her to him, and, perhaps, he'll find out that she's been sleeping with someone else (if that's what she's doing). At the least, he'll hear about her the same way that she seems to keep hearing about him.
As she says in a long Facebook post to fans, "Writing Pure Heroine was my way of enshrining our teenage glory, putting it up in lights forever so that part of me never dies, and this record - well, this one is about what comes next." We're moving into different territory in Melodrama, and I'm excited to see what Lorde comes up with next!
Hi! I'm a university writing center director who teaches literature classes and loves helping others to understand the deeper meanings of their favorite songs. I'm married to my beautiful wife April and love Twenty One Pilots, Mumford & Sons, Kishi Bashi, and so many others!
So for that to sound decent, you'd need to feed the midi that's being
played to a good synth or set of synths (which could be hardware or
software) and then also put in the midi file commands that would go to
the light board IF your light borad can be controlled by "musical"
midi instructions rather then MSC (Midi Show Control, which was
created for this specific use.)Like I said, I'd stick with the first approach, but just for your
information....Andy 0852c4b9a8
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