My favorite record of all time is Fleetwood Mac's Tusk. It's made up of a bunch of songs that don't really sound the same, but they all go really well together.
I've done quite a few records now, and I look back and think of them as documents of my musical journey.
I think the most important thing for me is putting out records that document ideas.
When I first heard bands like Tortoise, it seemed to come off the back of that world, like let's make a record with three vibraphones and release it on a seven-inch with black-and-white artwork.
Make a record in your bedroom on a cheap computer, play it on pirate radio, and that's what's it's all about. You can do something really exciting and you don't need any record companies. The way I do everything comes from that, the impact of those two things.
I want to move away from sampling records and just have it be quite minimal. I don't want any more hip-hop beats in there.
I think Nouveau Gloaming is a classic black metal record and I would hate to be a band that kept trying to recapture the same essence, but failing, for the rest of its days.
Bands are more willing to take risks and we don't need this big label over us anymore telling us what it means to sell records and get into magazines.
Actually, my experience over the past couple of years hasn't necessarily been something that would be interesting, were it committed to record.
What we're doing now, it's usually more based on records that I've bought or a projection of what I can do well now and the inner dynamics of playing with the people I'm playing with, Janet Weiss and Joanna Bolme, what we come up with. What works for us doesn't, like, have that much relation to the past.
Yeah, on the records, the guitars are made melodic, and I try to make it memorable. There's not much just wanking, to be honest - it's mostly melodic parts. I try not to play too many notes. It's just more instrumental music. It's a totally valid criticism if you don't like that kind of thing. It also is maybe a little anachronistic or unnecessary in a certain way.
I've been practicing for years, trying to figure out how to record an entire band live.
I remember you would record a guitar part, and we would have to sit there for 15 or 20 minutes waiting for the computer to process it. You'd see the little wheel spinning on the computer, and you'd be praying that the hard drive didn't crash and you didn't lose the performance.
Of course, before the internet people found records, too. You can still do it. It's just that people like to make the least amount of effort as possible.
Having friends who are records nerds - that's the best thing you can do, have a record-geek friend to take you far.
I record to my heart's content whatever I feel like.
If it's a good record or a good recording, then word of mouth will build for that reason, not before the fact, not before anyone's heard it, not because of MySpace or the label.
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."
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.
Take dance music: I like enough of it and its history to be able to say a word or two about this or that record, but I'm nobody's authority.
I'll keep making records until I don't have more ideas for records.
I realize I have made a lot of mistakes and done things wrong. I've done things I wish I could have done in another way. I didn't come in with the same kind of desperation that I may have had on the first or second record. I didn't come in thinking, 'Oh God, please. I hope this does well because I have nothing else and I worked so hard at this.'
You can't really come into a concept record objectively, because you immediately associate it with Yes, stuff from the 1970s that punk rock kicked against, the pretentiousness.
I just went to Europe, spent a year traveling, and then I came home with a finished album and said, "Hey everyone I'm back!" I gave everyone their lighters from Luxembourg, gave them the postcards from Italy and Rome, then said, "Hey look, I made a record, too" and played it for them. The general reaction was shock, because it was so different from what they've known me to do.
Records don't have to be perfect.
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