As Boromir might have said in some deeply unorthodox, parallel universe adaptation of Lord of the Rings: One does not simply walk into a Bond movie. For most artists, recording a signature song for…
Lord of the Rings
“I was surprised by that, honestly,” adds O’Connell. “We felt so beholden to writing a great Bond theme. The best setup is to write without any expectations. Really, when you write with no expectations, that’s how you get a song like ‘Bad Guy’. You go, ‘Let’s try this, try that, mess around with it.’ With ‘No Time to Die’, we were like, ‘Oh God, we have to write a great song.’ But we became aware how weird it was that we were having just a wonderful time writing it.
Indeed, what has made Eilish’s music so definitive for a generation of fans has been the ease with which she has worn her triumphs and tragedies in the lyrics she has composed with her brother, relating her audience to her their own struggles in the world. And so, she says, the personal had to find its place here too.
Finneas says that’s something he and Eilish are always working on. “We have a song called ‘When the Party’s Over’. We played that live first, halfway out of naivety, but it ended up being advantageous. We played it for about a year before we put it out. And the whole song hinges on these moments we found when we played it live, where Billie’s vocal comes in. It was because we were both listening to the gravity that was there, letting it build.
So, then, as they make music that tackles their own personal truths and insecurities, even as filtered through narrative, or movies, or character creations, is the process therapeutic? “No!” exclaims Eilish. “I feel like people always say making music is therapeutic, and I genuinely don’t agree. I don’t really enjoy it. I only enjoy it afterwards, when I play it. I’m sure both of them do.”“See? I don’t,” insists Eilish. “I love listening to what I’ve made. I love having made music.
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