Savan Kotecha

So it was like a kind of full circle moment that like, oh, this is so familiar that we know each other, you know? Yeah, it was, it was an amazing, it was such a, again, such a crazy time of, I think all of us, Amelia, Max, everyone, we together, we were like, it was just amazing. there was confidence, not arrogance, but there was confidence in our writing. And I was getting confident.

So it was like a kind of full circle moment that like, oh, this is so familiar that we know each other, you know? Yeah, it was, it was an amazing, it was such a, again, such a crazy time of, I think all of us, Amelia, Max, everyone, we together, we were like, it was just amazing. there was confidence, not arrogance, but there was confidence in our writing. And I was getting confident.

So it was like a kind of full circle moment that like, oh, this is so familiar that we know each other, you know? Yeah, it was, it was an amazing, it was such a, again, such a crazy time of, I think all of us, Amelia, Max, everyone, we together, we were like, it was just amazing. there was confidence, not arrogance, but there was confidence in our writing. And I was getting confident.

I was, I was really, it sort of found my, I found my thing as a writer. Um, and, and with melodies, I started, I started finding my way of being really consistent with it away from like, just really cheesy or boy band pop, you know? And it was an amazing time, eight years. It was so intense. I mean, it was like the amount of work we put into those songs and challenging every minute of it.

I was, I was really, it sort of found my, I found my thing as a writer. Um, and, and with melodies, I started, I started finding my way of being really consistent with it away from like, just really cheesy or boy band pop, you know? And it was an amazing time, eight years. It was so intense. I mean, it was like the amount of work we put into those songs and challenging every minute of it.

I was, I was really, it sort of found my, I found my thing as a writer. Um, and, and with melodies, I started, I started finding my way of being really consistent with it away from like, just really cheesy or boy band pop, you know? And it was an amazing time, eight years. It was so intense. I mean, it was like the amount of work we put into those songs and challenging every minute of it.

I mean, I remember... when we were doing side to side, I tell the story a lot. Like we spent like two weeks on the pre-chorus melody of side to side. I know that sounds crazy to people, but we just knew, I knew what the chorus was because I knew what that was. And it was like, this is, you know, like this is something super special.

I mean, I remember... when we were doing side to side, I tell the story a lot. Like we spent like two weeks on the pre-chorus melody of side to side. I know that sounds crazy to people, but we just knew, I knew what the chorus was because I knew what that was. And it was like, this is, you know, like this is something super special.

I mean, I remember... when we were doing side to side, I tell the story a lot. Like we spent like two weeks on the pre-chorus melody of side to side. I know that sounds crazy to people, but we just knew, I knew what the chorus was because I knew what that was. And it was like, this is, you know, like this is something super special.

And we had the verse, had the verse melody, but I couldn't crack the chorus, the pre-chorus melody. We had pre-chorus melodies that were good and that would have probably worked. But it was again, this thing where we were all like, we put the bar so high for ourselves that like, No, it's not.

And we had the verse, had the verse melody, but I couldn't crack the chorus, the pre-chorus melody. We had pre-chorus melodies that were good and that would have probably worked. But it was again, this thing where we were all like, we put the bar so high for ourselves that like, No, it's not.

And we had the verse, had the verse melody, but I couldn't crack the chorus, the pre-chorus melody. We had pre-chorus melodies that were good and that would have probably worked. But it was again, this thing where we were all like, we put the bar so high for ourselves that like, No, it's not.

It doesn't make the chorus feel amazing because in my philosophy, and again, there's no one way of doing things, but especially at the time, it was always like the chorus is holy, you know, and the chorus is this holy thing. And if what comes, if it doesn't, if the chorus is great acapella, if you feel it's great acapella by itself.

It doesn't make the chorus feel amazing because in my philosophy, and again, there's no one way of doing things, but especially at the time, it was always like the chorus is holy, you know, and the chorus is this holy thing. And if what comes, if it doesn't, if the chorus is great acapella, if you feel it's great acapella by itself.

It doesn't make the chorus feel amazing because in my philosophy, and again, there's no one way of doing things, but especially at the time, it was always like the chorus is holy, you know, and the chorus is this holy thing. And if what comes, if it doesn't, if the chorus is great acapella, if you feel it's great acapella by itself.

And then when you hear the whole song, the chorus doesn't feel right. That's, there's a problem before the chorus, you know? And, um, I was almost in tears, like pulling out my hair for the pre-course. And then a guy named Alexander Cronlin, who was a great Swedish songwriter, was visiting. And I could go, Alex, can you come in here? I've been working on this for two weeks.

And then when you hear the whole song, the chorus doesn't feel right. That's, there's a problem before the chorus, you know? And, um, I was almost in tears, like pulling out my hair for the pre-course. And then a guy named Alexander Cronlin, who was a great Swedish songwriter, was visiting. And I could go, Alex, can you come in here? I've been working on this for two weeks.

And then when you hear the whole song, the chorus doesn't feel right. That's, there's a problem before the chorus, you know? And, um, I was almost in tears, like pulling out my hair for the pre-course. And then a guy named Alexander Cronlin, who was a great Swedish songwriter, was visiting. And I could go, Alex, can you come in here? I've been working on this for two weeks.

I think Ilya has like five. 40 or 60 something versions of the pre-course in his computer that I was doing. It was like crazy. And, um, and I showed, we showed Alex what we were doing. I told him like, I did this, I tried this, just this theory. And he goes, what if you try something like that? Something like that. And he walked out of the room. I was like, you motherfucker.

I think Ilya has like five. 40 or 60 something versions of the pre-course in his computer that I was doing. It was like crazy. And, um, and I showed, we showed Alex what we were doing. I told him like, I did this, I tried this, just this theory. And he goes, what if you try something like that? Something like that. And he walked out of the room. I was like, you motherfucker.