There were a bunch of moments that kept cascading. Like, when we got an opportunity to play "Letterman", it gave us an opportunity to step up. It feels good to shed that skin and rise out of it.
We just met for the first time and David Byrne was like, "Hey, you want to sing on this song?" and I was like, "Yes, I do want to sing on that song." He's the most legendary dude but I wasn't thinking about how he was a legend when rehearsing. I was just thinking, "Wow, this guy really knows what he wants in his music." And that ended up being the vibe, like "Oh, you wanna try that?" "Yeah, that sounds great!"
I think if you feel weird and self-conscious about that kind of stuff - which happened to me at some points - that means your ego is really kicking in. You can understand how people get to be assholes in music business because it's like you're getting pumped full of your own thing so much, you get ungrounded. That's a dangerous place to be.
Even though Wisconsin is the only place I want to be, there was a time when everything felt like it was imploding in my head. It was a whole lot of "me" and it was a little unbearable at times - borderline embarrassing, even. It didn't last long, though, and as soon as I got home everything flooded back. It all boils down to that common denominator of stillness and trying to self-discover - I guess it just feels good when I'm there.
When you write a song about a place, you are writing a song about a place that might be in a hundred years, or a place that has been, or that was - in your imagination. I think that also embodies the American spirit. You are looking for what you can call "a place."
More and more into natural feelings rather than convoluted feelings or tastemaking or what have you. You always need critique, rock critics, but you can't take away people's taste. People are starting to, very slowly, do their own thing.
I do think that our culture or our psyche as a country I guess, the world or whatever, we're due for a huge event. We're due for a little bit of a revolution or a spotlight or a movement. Something that feels large, something that feels like the 60s. Some sort of unification.
I feel like this thing [that] we're rocking back and forth like we're stuck in a snow bank and we all sort of know it. I feel like people are getting less and less pretentious and less and less hip - hopefully.
Real person. real name. I won't divulge too much, but it's not a fake name. And it's not a fake person. I guess that's the best answer I can say: It's not a fake name and it's not a fake person. But it's not her real name and it's not a real person either.
If it wasn't for this person's privacy, I'd be able to talk pretty freely about this subject on a personal level. The record's about not her. It's about my struggles through years of dealing with the aftermath of lost love and longing and just mediocrity and just bad news, like life stuff. And in the [record], where the title comes from, the lyrics are actually a conversation between me and another girl, not this Emma character.
Licensing is how indie rock people make a living these days, so whatever about that. But I want good films and good placement for the songs because I want to be exclusive. I don't want to just sign it away because I don't want songs to lose meaning, but I'm also...I don't care [that] Wilco sold songs to Volkswagen. That's great. They probably drive Volkswagens.
I love touring, I love making records, but eventually all I want...I want to score. I want people to ask me to score their film or use my songs in cinematic ways. I think the ultimate media is a story that you can watch and feel and have a musical moment to. I think it's my favorite. I love watching something when music is creating motion within the motion.
And it's been a process of digging through the songs and trying to make them born on stage again. I think they are very different. I think they come off very differently. I think they come off, I don't know if it's masculine or outward, extroverted than introverted. I didn't know. It's just been a process.
I'm catching up. I'm satisfied with the show. I think I want to get better and better and keep building. It took a while to figure out how to do it. I didn't know how it was gonna go. I was just like, "I better book a show and just see what happens."
It makes sense that that's part of the story and everything, but that's part of any story of any record - where was it record and how long and what were the people doing. I think people want to know where these events are made. That's why I like the word "record."
People gather details and comparisons but it doesn't really bother me or land on me of any sort. I don't know if I was... Maybe I was influenced by them, maybe I wasn't, but I don't know. I was probably influenced by everything I've heard. So it doesn't bother me at all, but it doesn't sway me either.
A lot of people are like, "How are you going to re-do it?" I'm not worried about what people are going to say because you know people are gonna be like, "It doesn't sound like this... It sounds like this." I'm just going to make music that I know I'm supposed to make.
I don't feel anything about it. I really like "Staring at the Sun" - I like that song a lot. I haven't heard a lot of their records, but I know that they're cool. I know that the people who listen to them are really awesome and I like those people, so I know that I would like the band, I just don't own their records.
I could be worried about it if I had the wrong attitude. I don't think that I want my life and my daily occurrences to influence the direction. I don't want my daily life or my happiness to be a direct influence on music or my sadness.
The weird thing is I feel like I'm shedding skin so fast and I'm growing and I'm becoming a new person so quickly at a rate that I'm comfortable with, yet it seems faster and more steady than an other time in my life except 16, 17, 18. I just have to sit down and listen to the ideas I'm having. And I'm not worried.
I just understand... I mean this may sound kind of bigheaded, bullheaded, or cumbersome, but when people say they've had a really deep experience with the record, like it caused a divorce or it like...I've gotten all these stories.
If I completely understood what was going on and I understood these songs, they wouldn't make sense to play live anymore. They're still enigmatic for me. I'm still searching in the songs as they are. That's what's actually been the most fun about playing and touring for me is that there's still a lot of caverns in the songs where you can go and hide out different nights.
Some songs, some nights won't do anything for you, but people enjoy them and that's the job. The magic is finding those places to stand in the song and gain perspective.
I think subconsciously or selfishly I knew that I was supposed to do something. It was like a thumping or a throbbing saying, "Yes, this what you've been waiting for." But you're a little dim to those spiritual thoughts when you're dumb like me. So I did have to get a little bit of a kick. I played it for a bunch of people and I think their reactions were warm and deep enough that they gave me the courage to get [the record] out there.
I've been trying to catch up to it. Just trying to get with it, feel behind it a little bit, but that's good actually, probably. That way, I'm still sort of understanding it.
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