Rostam Batmanglij Quotes

You should find the dopest producer in your area, and that producer is always going to want songs written to his beat.

I've always had a lot of creative impact on the music with Timbaland.

I could blow up from making a beat or I could blow up from making a song.

I tend to start with a full set of lyrics, and then my producer, Joel Little, and I work on the music collaboratively.

I've been producing since the early stages of Gym Class Heroes. A lot of the songs on the first 'Papercut Chronicles' were actually beats that I made.

I'll hear a beat and think, 'How can I make this a banger?' I'll write the lyrics on my phone or on a piece of paper, and either way, it's going to be a slapper.

I write a lot of my own music. I usually go in with a producer, and every now and then there will be another writer in the room.

I don't care if it's Dr. Dre or Dr. Luke or Brian Eno. When you're in a studio and making music together, it becomes pretty apparent if you see eye to eye.

A lot of people have been sending me beats, I've just been getting it in.

As for song recordings - well, that's something that just happens. I've been working with music directors like Harris Jeyaraj sir, A. R. Rahman sir, and the experience is great.

When I feel it, I got it, 'cause, like, on 'Changes,' I didn't never know what that song was, never knew who it was or who did it, but Tom Brenneck asked me to do that song.

I would love to work with Calvin Harris because I think he's a really good songwriter and producer and he does everything, which I like.

I love the producer, Joel Rice. We worked together years ago putting a project together.

But I also enjoy music outside the band. I've been doing production for other people, including Robert Wyatt. Check him out. The album we did together, 'Rock Bottom,' I think it's really lasted well. It's a 35-year-old album, but it worked.

Puffy produced four of the tracks on the album. Those are the four songs that are collaborations between Puffy and me. And he gives me my space to work even when we work together, like with my producer and my vocal coach.

It's very hard to write a song alone. It's only by jamming that you can get a song together.

With 'Light,' I collaborated with a lot of different producers and musicians I respected, and we all wrote and worked on material which I then took to an old-school producer, David Kahne, and we put it all together. The lyrics came first - they were written before the music.

I actually enjoyed making 'Tango In The Night.'

Since I was old enough to understand what a songwriter/producer is, I've had a curiosity about how Max Martin creates what he creates. I wanted to see that happen. I wanted to be there. I wanted to learn from him.

I think Barry Gibb would be a wonderful person to work with. Because he just writes good tunes.

I feel like Turbo helped me grow. It's the way we just lock in. His mind is set to where he'll start making beats to my flow and my sound. He's not an engineer, but he knows how to record.

From the end of 2015 to the start of 2016, I was always at the studio with Mustard, just figuring out a sound.

I don't think I can name any names or anything, but this is what I've wanted to do for a long time: to have Flume as my creative outlet and to work on the biggest songs in the world, like pop, and come up with the idea and send it off.

When me and Gucci sit down, I make tracks real fast, and he can write songs real fast.

One of my favorite things is producing other artists because, in many ways, it's a lot more freeing than working on your own music.