In country and R&B, there's much more of that division between writers and performers, and that's where you see more of those [crossover] songs, but you don't get a lot of that coming out of the more pop and rock side of things.
I could definitely rock out to Kraftwerk's "Tour De France," Tubeway Army, or Gary Numan. All of that stuff has an infectious beat, but with "Oh Yeah," I can't even identify what's going on. It sounds like typewriter keys, a couple of synth notes and then this really deep "Oh yeah," which I always picture as Andre The Giant on vocals.
I don't really listen to rock music anymore. But were I to write a song that sounded like it could be a rock song, I'd probably give it to the Pornographers, and I'd be excited to try to make it work.
I think the things that I enjoy most about directing theater, or works that are really visceral in terms of comedy and have a sort of rock and roll aesthetic.
Maybe one day I'll write my rock album so I can use more obscure references and just be weird. If the lyrics are too crazy, though, then it's not pop anymore.
There was no indie rock band in the 90s at the level of, like, Grizzly Bear. I listen to their records and it's crazy how good they sound. That really freaks me out.
I actually do see rock and roll as pop music. I think the distinction I was making was that I was going out of my way to have a very consistent approach to production, where nothing kind of punctures the reality - or, I guess, the fake reality - of the album and what you're listening to from beginning to end.
Critics and fans use the music of their youth as reference points. For years, people seriously wondered who "the next Beatles" were going to be, and classic rock bands were the de facto yardstick for rock quality.
Never had a ska phase, but I was in a very grunge-like rock band that awkwardly had an alto sax in it.
You didn't have to be a huge rock star; you just had to do well enough to continue doing what you wanted to do. It wasn't about hitting the jackpot, it was about sustainability.
My priorities now a a musician are so different now than they were as a kid. Everyone wants to be a rock star, and I wanted that too; I wanted to be on magazines and be running around the world and having all the fun.
I was always concerned with making cool-sounding rock records.
I started going to rock shows at a really young age, and seeing other young people make music definitely influenced me.
Progression is important. I'm always going to play music in the general vein of rock'n'roll, but when I started I was very much associated with the West Coast lo-fi thing and I didn't want to get anchored in with anything that was just in vogue for the time being.
One thing that got me started on it was the jean jacket. It's an item that could make you believe you're in the 50s or punk-rock 70s or grunge 90s. I was really focused on timelessness, and I think music is very timeless.
The music that I have always liked has always been more rooted in anger or sadness or alienation or any of those inspirational factors that drove rock'n'roll, gospel, and blues. I tend not to value a more pop aesthetic.
I like whatever's good. Metal, rock, new or old - I don't care, as long as it does something to my brain.
Even the indie rock world - which is supposed to be about truth and independence from corporate mindfulness or something - is totally subject to the paraphernalia of celebrity.
It's nice if you're making a regular pop or rock album and you get ten little songs. But I really try to make the album with one big story instead of ten small stories.
When you're a touring musician, you're always turning over new rocks and there's always a certain level of tension in your life.
I'm just a sucker for new-agey synth sounds and instrumentation. I wasn't really thinking of soft rock, but I know that kind of quiet-storm format uses a lot of these sounds.
My father is a massive, massive music fan. I grew up listening to rock, soul and jazz.
Like the song "Stereo", to me that's like, kind of hip-hop in that slacker way. There's some slackerisms mixed in with that stuff, but it wasn't really conscious, I guess. When things would get more typical rock'n'roll that was my fallback to go to those kind of lyrics instead of the alternatives.
I was never ready to give up, but I did get words of confidence to move forward from a few musicians that had climbed up the totem pole of rock. They were encouraging words that struck a nerve with me and made me stronger.
In the rock 'n roll slang world, they're called rock doctors, or rock docs. They would come out to shows and like to hang backstage. You could get a prescription for anything you want from them. They just want to hang out and party. It's crazy because you can get a prescription to anything. It doesn't even matter what kind of doctor they are.
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