Quotes of All Topics . Occasions . Authors
Really good musicians don't think of "self-reflection."
I'm just kind of lazy and messed up and self-managed - self-mismanaged.
I think the more removed I feel, the more I warm up to the role of singer.
I force myself to care about the music end by wrestling with it for years.
The more I abandon ideas of myself as a musician, the better a singer I become.
I'm probably more into a more spacious, even meditative, quiet delivery of singing.
Most musicians don't write about being a musician cause most musicians aren't writers.
I always start with the lyrics, because starting with the music means the words will be bad.
I'm not that conscious of my writing, so pacing the lyrics doesn't really enter the picture.
Once you feel like you can safely quit a melody, you are free to explore more important things.
I've never had any kind of work ethic. I've never sat down with the intention of writing a song.
There are too many Destroyer records to just start rattling them left them off, but they're there.
I used to struggle a little bit with the idea of how to separate singing from acting and entertaining.
Moments of unexpected sweetness happen when romance enters, which always happens in songs - if just for a split second.
Part of me likes words as music sabotage, and part of me wonders why anyone would waste their time liking anything to do with sabotage.
I was born in 1972, which means that in "rock" terms I have no business addressing "the kids" unless it's to shoo them out of my garden.
I guess my guitar parts are usually precise, but the execution of those parts is downright treacherous, since I'm not very good on guitar.
Even though people like to say Destroyer [albom] is gibberish and all that, I usually know exactly what I'm saying at every single moment.
I don't really know what's going on with the Pornographers - everyone's kind of doing their own stuff. I mean, they play shows here or there.
I like playing music. I don't always like the feeling of people looking at me. I don't think I'm a natural performer, but I'm getting better.
I like playing music. I don't always like the feeling of people looking at me. I don't think I'm, like, a natural performer, but I'm getting better.
I don't banter with the audience, cause I don't have anything to say to them, and I'm not feeling any sense of ease or camaraderie when I'm on stage.
I'm more focused as a singer and hands-on with music and more exacting, and less trying to furiously fit a thousands thoughts into a four minute song.
No one appreciates a professional anymore. Everyone's a mystic. Which is why I take drunk Jim over acid Jim - the argument all roads eventually lead to.
When I'm on stage I don't say anything. The last thing I want to do is share my thoughts. I don't know if that's mysterious - maybe it's just old fashioned.
Kaputt was just a record that did really well for us, and therefore our record label and our booking agent said that we should go out and take our message to the world.
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.
I'm not really sure that I have the same definition of things as other people. Like, when people talk about being "engaged" with the audience, I'm not exactly sure what they mean.
I like putting common expressions next to uncommon expressions. I'm sure in Poetry 101 there is a name for it, but it seems like you usually go one way or the other in rock music.
I can't fool myself into thinking that musically I don't need other people, whether it's as a foil or just to come in and make real the ideas that are kind of vague and wispy in my head.
I knew what real instruments I wanted and, in some cases, who I wanted to play them. I had started listening to a lot of ambient music and jazz and I wanted to incorporate stuff like that, too.
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.
Big, evocative words get thrown around, and people can sing along to passionately as if the lyrics just materialized out of the ether, largely because they don't ever seem to coalesce into a writerly voice.
When I go to a show, all I really want is to hear a performance that sounds legitimate, and not just going through the motions. I'm not sure any amount of jumping up and down really persuades me in either direction.
Of course, no lyrics are ever unintentional, but I think bands like Wolf Parade and the Arcade Fire have a tendency to touch on big themes without really following through on them or tying them in to a particular logic.
People say I write specifically about nothing in particular. I don't know about the latter part, but I think the first part is really important in conjuring up a voice that works, or at least the illusion of a voice at work.
It never really interested me in the past but, for the first time, I wanted to make a pop record. I thought a good way of doing it would be to make songs that didn't really make sense to me as songs; songs that I couldn't just sit down and play in front of someone and then get them to play over it.
Generally, if you could picture a bunch of rock and roll momentum behind a song and it was particularly melodious, maybe the Pornographers would do it. If it was kind of moody and more lyrical, then maybe it would be a Destroyer song. Anything that's really lyrically driven I would keep for Destroyer.
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.
It's actually really stereotypical that someone should be 40 and mellow out, but I think it's more about trying to conjure up a different intensity in my head, one where I'm more focused as a singer and hands-on with music and more exacting, and less trying to furiously fit a thousands thoughts into a four minute song.
I was a member of the band when it was just, like, a conversation at a bar. Then we constantly practiced, we played shows, we tooled around in the studio. And then, when I moved and kind of bailed on that, is when... So, yeah, for the first, 'Mass Romantic,' I was heavily involved. Then, for a couple records after that, I was not really involved at all.
I certainly didn't predict people who spent years actively disliking the band to all of a sudden like the band. That's pretty funny to me, and it makes playing live kind of interesting, 'cos we're doing lots of things that don't really have a lot to do with that record, and even presenting the songs off that record in a way that's a little more muscular and without as much of the sheen, which is what I think part of what people really liked [about Kaputt].