Lauren Mayberry Quotes
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I guess I'm fortunate in that two things I always wanted to do, since I was 16, were play music and get into news media. I'm very lucky to have two things that can engage my brain at once.
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Crushes start out as that teenage phenomenon, life-affirming and cute, but as you wander into adulthood, they seem to end up more painful, harrowing, and uncertain, especially if you have just come out of the relationship you thought would finally, maybe, maybe be the one that stuck.
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I did my dissertation on the idea of femininity and women's writing, so I spent eight months reading about how women are portrayed in the media in terms of images and tone of voice and what words are used.
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I think, in reading a few sentences of text, you can just tell the tone, and that's something I love in prose writers but in lyricists as well.
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There will never be a job that I do in this industry where I don't have to talk about being a woman. I will always be a female artist. People will put that in front whether you like it or not.
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I think looking at the front row of a Chvrches show is really diverse. It could be 50-year-old dudes who love Depeche Mode or teenagers or teenage girls and their dad.
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Obviously, when you're working at things, you all hope that people will relate to it.
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I discovered the idea of feminism when I watched the film '10 Things I Hate About You.' It's a classic.
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I find it quite boring when you're listening to radio, and it's the same kind of voice that's on every song on the radio. You can't really tell a lot about that singer as a storyteller and about the singer from what they're singing.
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If Radiohead made a video where Thom Yorke was featured more than the other members, nobody would say anything.
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We were quickly labeled as an outspoken feminist band, which I'm totally fine with.
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I have a personal Twitter for band purposes, but I don't use social media a lot.
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When people say, 'Stay in your lane; you're a musician, so you should only talk about music,' what do you think songs are written about? I connect with music because what somebody has said has resonated with me in one way or another.
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When people say stuff to us casually in reviews, if they write about it in a condescending way with really gendered language, that's not really about me. It used to hurt my feelings more than it does now. That's not about us as a band or me as a person. That's about how you feel about women, and that's a societal thing.
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We all like to believe we are completely self-sufficient, but at the end of it all, we're all searching for a human connection, something to make it all feel a bit more worthwhile.
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Objectification, whatever its form, is not something anyone should have to 'just deal with.'
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We were overwhelmed by how much the first album connected with people, but I wouldn't put us in the 'pop star' realm.
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Growing up in Scotland and living in Glasgow, you see the heritage that religion has had and how something that, in theory, is about kindness and community and caring for each other is used to persecute people.
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Even in the early stages, you can tell who thinks you're an idiot singing songs someone else has written for you. We never wanted to be two producers and a girl who wears some shoes.
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I like the idea of a record being more than one thing emotionally - human beings go through so many emotions in one day - and I like those things sitting next to each other.
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If you give me half an hour on the Internet, I can hate myself completely by the end of that 30 minutes.
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It's nice to squash people's expectations.
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The bands that we've found we have something in common with are bands like The National or Tegan And Sara, and I feel like that's because all three of us come from more alternative rock backgrounds.
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Moving from a first to a second album is an incredibly transitional time for any band because you never get to make one in a vacuum like you did with your debut.