Well, I think it is accidental. It's just something I started doing naturally and it had a lot to do with reading. I think that Dylan Thomas, his prose and poetry, was a big influence on me. Just his use of words... He would use so many odd words: like these three- and four-syllable words that you just don't normally hear. And they're not used in a manner that sets the text apart from the reader. Rather they're drawing the reader in. It's entirely based on the alliteration of the word itself-onomatopoeia and things like that. I feel like a lot of the words I use don't stick out in the song because they keep the feel of the song in mind. The rhythm-that's the primary thing. They're put in there for rhythm and alliteration as much as they are for meaning. And as long as they are not used extraneously, they're real lightning rods for people listening to the lyrics. If the words are really helping out the rhythm of the song then all they're going to do is draw the listener in even more.
Colin Meloy
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My most dear lord, King and husband, / The hour of my death now drawing on, the tender love I owe you forceth me, my case being such, to commend myself to you, and to put you in remembrance with a few words of the health and safeguard of your soul which you ought to prefer before all worldly matters, and before the care and pampering of your body, for the which you have cast me into many calamities and yourself into many troubles. For my part, I pardon you everything, and I wish to devoutly pray God that He will pardon you also. For the rest, I commend unto you our daughter Mary, beseeching you to be a good father unto her, as I have heretofore desired. I entreat you also, on behalf of my maids, to give them marriage portions, which is not much, they being but three. For all my other servants I solicit the wages due them, and a year more, lest they be unprovided for. Lastly, I make this vow, that mine eyes desire you above all things. / Katharine the Quene.
Catherine of Aragon
My ability to endure tension had now grown amazingly. From the accidental pain of southern years, from anxiety that I had sought to avoid, from fear that had been too painful to bear, I had learned to like my unintermittent burden of feeling, had become habituated to acting with all of my being, had learned to seek those areas of life, those situations, where I knew that events would complement my own inner mood. I was conscious of what was happening to me; I knew that my attitude of watchful wonder had usurped all other feelings, had become the meaning of my life, an integral part of my personality; that I was striving to live and measure all things by it. Having no claims upon others, I bent the way the wind blew, rendering unto my environment that which was my environment's, and rendering unto myself that which I felt was mine. It was a dangerous way to live, far more dangerous than violating laws or ethical codes of conduct; but the danger was for me and me alone.
Richard Wright
Numbers were a mystery to me. I was so far behind. It was only in Nairobi, at age ten, that I figured out anything at all about the way time is calculated: minutes, hours, years. In Saudi Arabia the calendar had been Islamic, based on lunar months; Ethiopia maintained an ancient solar calendar. The year was written 1399 in Saudi Arabia, 1972 in Ethiopia, and 1980 in Kenya and everywhere else. In Ethiopia we even had a different clock: sunrise was called one o'clock and noon was called six. (Even within Kenya, people used two systems for telling time, the British and the Swahili.) The months, the days--everything was conceived differently. Only in Juja Road Primary school did I begin to figure out what people meant when they referred to precise dates and times. Grandma never learned to tell time at all. All her life, noon was when shadows were short, and your age was measured by rainy seasons. She got by perfectly well with her system.
Ayaan Hirsi Ali