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Crédits

INTERPRÉTATION
Todd Edwards
Todd Edwards
Chant
Paul Jackson Jr.
Paul Jackson Jr.
Guitare
Chris Caswell
Chris Caswell
Claviers
Nathan East
Nathan East
Guitare basse
James Genus
James Genus
Guitare basse
Omar Hakim
Omar Hakim
Batterie
Quinn
Quinn
Percussion
COMPOSITION ET PAROLES
Todd Edwards
Todd Edwards
Paroles/Composition
Thomas Bangalter
Thomas Bangalter
Paroles/Composition
Guy-Manuel de Homem-Christo
Guy-Manuel de Homem-Christo
Paroles/Composition
Chris Caswell
Chris Caswell
Arrangement
PRODUCTION ET INGÉNIERIE
Todd Edwards
Todd Edwards
Co‑production
Thomas Bangalter
Thomas Bangalter
Production
Guy-Manuel de Homem-Christo
Guy-Manuel de Homem-Christo
Production
Peter Franco
Peter Franco
Ingénierie de prise de son
Mick Guzauski
Mick Guzauski
Ingénierie de mixage
Florian Lagatta
Florian Lagatta
Ingénierie de prise de son
Daniel Lerner
Daniel Lerner
Ingénierie de prise de son
Seth Waldmann
Seth Waldmann
Assistance d’ingénierie de prise de son
Cory Brice
Cory Brice
Assistance d’ingénierie de prise de son
Nicolas Essig
Nicolas Essig
Assistance d’ingénierie de prise de son
Eric Eylands
Eric Eylands
Assistance d’ingénierie de prise de son
Derek Karlquist
Derek Karlquist
Assistance d’ingénierie de prise de son
Miguel Lara
Miguel Lara
Assistance d’ingénierie de prise de son
Mike Larson
Mike Larson
Assistance d’ingénierie de prise de son
Bill Rahko
Bill Rahko
Assistance d’ingénierie de prise de son
Doug Tyo
Doug Tyo
Assistance d’ingénierie de prise de son
Eric Weaver
Eric Weaver
Assistance d’ingénierie de prise de son
Alana Da Fonseca
Alana Da Fonseca
Ingénieries complémentaires
Phil Joly
Phil Joly
Ingénieries complémentaires
Chab
Chab
Ingénierie de mastérisation
Charlie Paakkari
Charlie Paakkari
Assistance d’ingénierie de prise de son
David Channing
David Channing
Ingénierie de montage
Gus Koven
Gus Koven
Conception sonore
Gus Koven
Gus Koven
Conception sonore
Kevin Mills
Kevin Mills
Assistance d’ingénierie de prise de son
Kyle Stevens
Kyle Stevens
Assistance d’ingénierie de prise de son

Paroles

Keep building those (keep building those, yeah)
Random memor-
I would never leave
Keep building those random memories (so)
(So you know this song is about Todd coming here, and)
(And, and making the song, and, and uh, working with us)
(I would never leave)
(Keep building these random memories)
Ha ha, good, we're almost there with this part!
I knew the beginning was the hardest part, it was like working like-
I would never leave
Keep building these random memories, oh
'Cause wait, that-, this is the thing
"Since I can't", it's gonna be like, "But since-"
Something about it, having to stop
The way I'll get around that is by going back to these, yes
("I'll keep playing back these fragments of time")
Yeah, exactly, these fragments, that's how it's going to be
(These fragments of time)
(I just keep playing back)
(These fragments of time) Fragments of time
(Fragments of time)
Wait, do me a favor, I don't mean to cut you, because we're-, I'm almost
I just wanna hear the-, before the "way, I would never-"
I don't ever want it to end
If I had my way, I would never leave
Keep building these random memories
Before it's too late
Okay, so that's the part, I have to just remember that
Okay, alright, so, um
So the thing of it is "I can't-", "I can't stay"
But, it's like, the whole concept is "I can't stay"
(But things-, it comes to an end)
(But since everything comes, you know-) Yeah, yeah, "but since everything come-"
(Since everything) Oh wait, hold on, yeah
(I don't know if it's you that "can't stay") I know, but-
And I don't ever want it to end
(If I had my way, I would never leave)
(Keep building these random memories)
(Since I can't stay)
(I'll just keep playing back)
(These fragments of time)
You think the line should- um, like, I think this will be a good thing
Should the line reflect that it can't stay the same?
Like, in other words, I wish that it could always remain today, like, type of thing?
Like, should it be that?
That might help in writing it, like, in other words, you know
(Keep building these random memories)
(Turning your days into melodies) That's so sweet, that this is-
(But since I can't stay) "Turning your days into melodies", wait, okay
If I had my way, I would never leave
Keep building these random memories
Turning our days into melodies
But since I can't stay (woohoo!)
(If I had my way, I would never leave)
(Keep building these random memories)
(Turning our days into melodies)
But since I can't stay
(I think that sometimes the hard thing is just finding the melody)
(And now we have the melody for the second part of the verse) Yeah, yeah, exactly
(Which can just like, write another thing) Yeah, exactly, yeah, exactly! For the second-
(If we do that, it just becomes two verse) Yeah, exactly
(Or if we-, if we-)
(Or, if we really struggle, it can just become our second verse, you know) Exactly
(It's more like a backup plan, y'know?) Exactly, yeah-, yeah, exactly
And plus, the idea is that you can even, you know, for the second verse
Kinda sing it like this, but change some of it, like, you know, improvise like-
"If I can't-", you know, it's like-, you know, like)
(But if there's no way, or, you know, I'll just keep playing that)
Yeah, yeah, like-, exactly, yeah (I'll find a way, uh, you know)
Whatever the case, we'll find a breakthrough (Yeah, but if not-)
(I agree, I agree, let's imagine that we do)
There's so many di-, so many possibilities, uh, like, for it to be rhymed very easily, um
Faces I've never seen (Fantasy? We're doing that to another song)
I didn't say "fantasy", I said, I said, uh (Oh, you didn't say-)
Faces that I've seen in dre- (Oh, sorry)
Seen and dreamed, like, in other words, like
(Oh) You know, it's like, I don't know-
("Familiar faces I've never seen") Yeah, familiar faces I've never seen
(Instead of doing "unfamiliar faces" that seems like, it's still "familiar faces I've never seen", you know?)
I love it, that's so crazy
Familiar faces I've never seen (that's good, right?)
"In memories, I found my dream", or like-
(Familiar faces I've never seen)
Oh my god, that's such a beautiful line, "familiar faces I've never seen", I love it!
(Familiar faces I've never seen)
(Turning this straight out of a dream)
Like, you know, a half-remembered dream, or something like-
(There's something like that in "Touch", he said that) Oh, really?
(Yeah) That's crazy, I did not-, I didn't pick that up, that's like-
(A half-remembered song, yeah) Wow, that's crazy
No, I know, but I swear, I didn't-, but like that just came up-
No, but the connection is just like, it's crazy
(That "seen and dream", that's cool, it's cool too) Yeah, yeah, ye-
(Dream, been) Yeah, yeah
(A dream within a dream, it's in "Touch" too) Yeah, yeah, yeah
(There's the word "dream" everywhere) Yeah, so which is fine
And it kinda has a connection to it, like the congruency, yeah
That "familiar faces" line, man, that's-, that's hot
To be able to express something so great, and, like
It's almost like a haiku, because it's like-, you know what I mean?
You only have a few syllables to say something and it's like-
(But that's totally the-, my alley of like the, California vibes, you know?) Yeah, yeah, yeah, yeah
Familiar faces I've never seen
You know, I didn't say-, I'm actually, it's-
There's some parts I'm getting choked up 'cause it's so damn emotional, just
Putting these 3 weeks into words, it's really intense, actually
I've never felt anything like this before (Now every time you hear this song, it's gonna-)
Yeah, seriously, it's insane, yeah (it's capturing it, it's making it forever)
Written by: Guy-Manuel de Homem-Christo, Thomas Bangalter, Todd Edwards
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