Quotes of All Topics . Occasions . Authors
I live and die by puns.
You can get anywhere on earth by falling asleep.
Opinions are like snowflakes, you know what I'm saying?
There's something about live recordings now that's too hi-fi.
It may be years until the day My dreams will match up with my pay.
A year's a long time, but it also flickers past in no time at all.
I haven't been living anywhere because I've been on tour for the past two years.
I didn't really get London until I read Dickens. Then I was charmed to death by it.
I like being swept up in weather and observing it as something beautiful and giant.
Commercialism isn't challenging creatively; it's only challenging in a stamina way.
I was in a crazy, private, awesome bubble again, and that's when I started to write.
I know more than I knew before I didn't rest I didn't stop Did we fight or did we talk.
I'm a nostalgic person and I really like rehashing and digging around the mental trunks.
You never know what's going to play into what's worthy of getting encapsulated into a song.
For me, music is in the choice of what not to play as much as in what you've chosen to play.
Now, there's just so much imagery. Imagine what our grandkids are going to be able to see of us?
There's nothing better than not knowing what's going to happen until you put the pieces together.
Everything becomes closer once you realize that the world is only as far away as a nap and a meal.
I was grateful to be away from all that familiarity, to have a chance to do something anonymously.
When I wrote 'Mushaboom', I was living in the second verse, but I suddenly found myself in the first.
Probably, on some subconscious level, I was motivated by not wanting to spoon-feed any similar flavors.
I don't think that village idea of actually knowing what you're contributing to the whole exists anymore.
I need therapy after writing. It's like leaking blood from a stone. It's brutally difficult but worth it.
Be alone even when there's a million people around, because tomorrow it will be a different million people.
And of course, pop music is all about memorability and simplicity and positive messages and a little dash of joy.
I've always been a bit wary of keyboards because there's an invisibility to it - you're not really hitting anything.
All the girls who have photos of them at parties, like, "Woo!" - that's what someone's going to see of their grandma.
There are certain parts of chords that resolve things and tie a bow, and others that keep things open and unanswered.
If you keep bashing your head against the same wall, at some point you're going to fall over and be still for awhile.
I wrote the album [Metals] in the fall. In about four months, I went from zero to finished. It usually takes forever.
I think I prefer the constant renewal. It's almost like sandpapering down any details or any contour of familiarities.
'Metals' has partly been about me regaining my self respect and I feel like I'm growing the muscles I want to grow again.
Songwriting is a really fortunate skill to have to frame living and to find new ways to observe things you're going through.
I think that's more a reflection of the fact I've never been a student of any particular school of writing, or even listening.
There's real potency in metal. Metal fans love metal as if it's a nation they would fight for. It's not diluted by pop culture.
I don't want to take photographs that I won't recognize as myself, and myself isn't necessarily just blankly staring at the lens.
Instead of just looking back, whiplash-style, I can assume there's something else coming. Time just folds over itself, like origami.
I would try to pick the guitar up sometimes, like, "Hey, remember me?" It was like reintroducing yourself to someone who's got a grudge.
I know I'm sane I don't give a care for the crown or the shield I will not protect you or happily yield To the one who makes me come undone
I guess there are a lot of people out there that think they're supposed to define themselves in isolation, but that's not necessarily the case.
Since I was 19, I've always gone where there was a reason to be. Maybe I'll be lucky and there'll be a reason to go somewhere tropical for a while.
For me, the best part is people who watch the movie and tell me it inspired them to collaborate with their friend who's a photographer or filmmaker.
Musically, I didn't relate to Berlin. There seemed to be a lot of machine music made there - I don't think I saw a stringed instrument in two years.
I've not really spent much time in proper studios. The room itself where you're recording, and how you live while you're there is what appeals to me.
I never really lived outside of the city growing up, but I'm always looking in between the lines of the city, and I magnetize over to the green spots.
I had a guitar leaning against the wall and I'd squint at it. It was almost like a dog that had been kicked - I didn't think I had anything to offer it.
I had to let myself imagine a calendar with no lines; when every single day is being predetermined six months in advance, there's no more fluidity to time.
You're an enormous sponge and everything goes in there and you squeeze it out in songs, I guess. And if you're a painter, you squeeze them out on to a canvas.
You hit a guitar, you hit a note, you hit a drum, you hit an organ. Meat and potatoes. Simplicity. Not getting too caught up in little tweezers of perfection.
I made the first Feist album in '98. So at that point, it was my nickname. It was as far as with my circle of friends, and just felt more accurate than two names.