Meg & Dia Biography
It was this newly gained viewpoint that influenced all the songs on Here, Here and Here, whose title is inspired by a quote courtesy of Mozart: “There’s nothing to composing. You just need to focus on here, here and here,” he said in reference to his head, heart, and ear. If there’s a consistent theme throughout the album, it’s that life doesn’t come with instructions or a map. “All of the songs reflect the sentiment that we’ve been on this really long journey—from point A to point B—and it’s taken us a long time to learn all these different things,” Meg explains in regard to their learn-as-you-go attitude. “We wanted to create the feeling of progress, even though we’re not done yet. The whole album has a feeling of motion…that we’re trying to get somewhere while still having a little more way to go.”
Meg & Dia have certainly shown just how far they’ve come since their debut release. Here, Here and Here is a musical and emotional rollercoaster through various striations of pop-rock sounds and sensations, with each of the 13 tracks brimming with the band’s signature candor and charisma. Meg & Dia stepped outside of their musical comfort zone by experimenting with different instruments and arrangements. “Hug Me” is an upbeat rocker inspired by Brave New World and the desire to be your own person amidst a sea of expectation; “What If” is a guitar-driven, alt-rock romp that’s filled with hypothetical questions we all encounter in our lives (i.e., “What if I find my purpose first?/What if I fulfill my life’s work?/What if you’re counting on my failure made me live?”); “Bored Of Your Love,” a revealing and bittersweet duet performed with Tom Higgenson of the Plain White T’s, marks Meg and Dia’s first co-writing experience with an outside person; and “Black Wedding” is an ominous-yet-sassy salsa with fist-pounding choruses and arena-rock guitar solos.
To help Meg & Dia realize their vision, the band turned to noted producer Howard Benson, who is known for his work with My Chemical Romance and The All-American Rejects among many others. “Howard encouraged us to do a bit of soul-searching and inspired us to push ourselves creatively as artists to the limit,” Meg says. “I learned what I am capable of and to not be afraid to try any idea no matter what it is. He taught me to have faith in myself and not sell myself short just because I'm young and haven't had as much experience. His hand in the arrangements really helped bringing the songs together as a whole, making them more cohesive and emotionally solid.”
Never ones to hold anything back lyrically or musically, Meg and Dia also pride themselves on the fact that—for better or for worse—they are responsible for all of their own material. Meg mastered the GarageBand recording program while the band was demoing songs, which resulted in the final tracks not varying too much from their original form. “Organic” and “authentic” were keywords during the songwriting process, which meant that everything—from the lyrics, to the guitar lines, to the string arrangements—is 100 percent a product of the band. The result is an album that encourages the listener to use their imagination and glean their own meaning from the songs. “Today a lot of musicians hire people or just go with big, corporate writing teams,” Dia says. “That kind of thing scares me to death. “Even though we’re still learning, it’s just cool that no matter what, it’s all completely us.”
The members of Meg & Dia are looking forward to performing the new songs on their upcoming tour this January and for fans to finally get a chance to hear the eclecticism of Here, Here and Here. What do they hope audiences will walk away with? “I want the fans to feel what I feel when I’m listening to incredible music, which is this extreme appreciation for something so beautiful and touching,” Meg says. “It’s taken a long time for me to recognize who I am and go from ignorance to self-doubt to confidence to realization to self-worth—and I think the music reflects that.”