Quotes of All Topics . Occasions . Authors
For the most part, I've been influenced by black singers and singers I couldn't sound like. Whenever I tried to do a dark note or a bent note, I would just sound like Hootie And The Blowfish.
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.
No matter how much you care about a person, you have to be able to know that you can sit down at night and be happy with who you are without that person. That's really hard when you're a lonely emo kid.
I'm just living in Eau Claire, not really leaving for much. I go to the farmers market, go to the studio, go home and play with my cats. I don't know if I've ever been this happy, which is really awesome.
With all the touring and distractions going on, I would get a sound together but I wouldn't have time to work on it. So I sat on the road with the sketches and saw how they revealed themselves emotionally.
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.
My favorite idea is doing an all-night tent show starring my friend's band Marijuana Deathsquads, where everyone would wear super-loud headphones, and there would be tons of subs and lights. It'd be really dope.
I'm not with anybody, I don't have time for dating. Not to get too personal, but it's weirdly harder to meet new people now. But for the first time in my life since I was a little kid, I'm not so concerned about it.
You’re in a relationship because you need help, but that's not necessarily why you should be in a relationship. And that's skinny. It doesn't have weight. Skinny love doesn't have a chance because it's not nourished.
Indie rock is just as susceptible - if not more susceptible - to all the gross things about people becoming total ass clowns in music, and only worrying about money and image. I'm not interested in being a part of that.
I've stolen music before, I don't know anyone who hasn't. But if you're gonna do that, I want you to be able to have an opportunity to know the real lyrics because I really hate it when people put up wrong lyrics online.
I'm really honored that Bon Iver gives me a platform to do whatever I want, but there's only so much time you can spend digging through yourself before you become insular. I'm not in a hurry to go back to that temperature.
I've been singing since I was 12. And I think that all the information is finally starting to chill out. And I don't have to be fancy. I can just kind of do things and simplify things and try to be the best singer I can be.
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.
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.
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.
It was all the things I wanted my music to be, but yet it wasn't grand and it wasn't obtuse - it wasn't overshooting, it wasn't undershooting, it was precise. The lyrics and the way that I was able to extract and excavate emotion within me.
I could go on and on and on about how we use the word 'place' in so many different ways. About how somebody might ask you 'Where you at?' And they're not asking where are you sitting, where are you living, they're asking: 'How are you doing?
There's a large opportunity for Bon Iver to be a special thing, even from a business standpoint - just trying to do cooler things. Every band sells t-shirts and plays certain auditoriums, but I'm sick of being like everyone else, because I'm not.
I can't see myself - I'm not really looking so far ahead in the future. I know that I kind of need to live in the country even though I'm not - my house isn't in the country right now. I bought a house, like a really tiny, cheap house in Wisconsin.
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."
I think I've always been aware of it with my music. I think growing up basically and having a lot to deal with and just slowing down and having something to say and something to retract from, I think I just knew that what I was doing was extremely honest.
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.
Those old Appalachian singers use a falsetto sometimes. They can change their voices to sound high or low or really scratchy. When you're singing, usually you're trying to express some kind of pain or joy. I think that voice allows me to do a lot more of that.
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."
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."
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 just feel like why spend all my time doing something that makes me unhappy just to spend my time off thinking about how I have to go back to a job. It's such a vicious cycle that people get stuck in. But I'm also very lucky. I can't sit here too eagerly and say all that.
I'm super happy to see the record doing its thing and for people to like it, but for me, I had a great victory just as a person. I overstepped countless obstacles by creating that record. And the record's a metaphor for the personal steps I [took] throughout the past year.
It just didn't seem to fit the story and lineage, I guess. So I just sort of surrounded 'Blood Bank' with three other songs that were very different from one other, and they all kind of came together as a palette cleanser for the last record. And I'm really excited about it.
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 am generalizing, of course, but in hip-hop, it's like you get this shine for using the word "pussy" a billion times, and I think that that's weirdly healthier than not doing it at all - even though I really hope it ends soon because, you know, how many decades can we do that?
I can pour myself into Bon Iver. It's a thing about self- and mental discovery, and those are all important things. But it's not 148-shows-over-a-year-and-a-half important, though. It's a machine, and it's money, and you just get put on this indie rock cart, and it's embarrassing.
We got in after a ten hour drive after sleeping for four hours. I'm not complaining here. I'm really not complaining. Ten hour drive to get here, we unload, we sound check, we get here we take photos, we do this. I haven't eaten anything today. It's like... And I'm not even hungry.
I told myself I never wanted to rent again. Even though it's a battle, I'm lucky cause I'm living in a cheaper part of the country. I just told myself I'm never going to do this again. I'm never gonna work, I'm never going to pay somebody rent again. I'm never going to sign another lease at least.
The way I see it is that I grew up with a good set of values, but it was never too strict. I was always encouraged to be a free-thinking individual. I spent the first five years out of high school trying to make it work in Eau Claire, then I had to leave because there wasn't enough going on in town.
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.
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 don't want to get myself in trouble - and I don't think I'm super important or anything - but I think it's so funny that when you look at the business and the way that people make decisions in their lives, whether they're in art or music or they're in industry, they forget that being unique is the answer.
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 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.
There's a few times in the past when I wrote a song, and I put the words together, and they were very clear pictures, and I felt like I was putting together a really good story. But I don't think I was ever really able to stay on that. What I've sort of developed lyrically is more about the sound of the vocals and what they are.
I kind of miss writing songs the way that I used to write songs, in the sense that I would just sit down, and all these words that told a story would come out. There's one Bon Iver song called 'Blood Bank' that is more representative of an older lineage of songs, which I like and I sort of miss. But it just doesn't happen anymore for me.
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.
Just in general as a person, not necessarily as a songwriter, being in cities wasn't the right fit. I couldn't escape and be in the woods in 10 minutes if I needed to. I like that in Eau Claire, I can walk to a bar or a coffee shop, and there's city-ish things, but I can also drive and in eight minutes be at my parents' land outside of town.
I'd have to think about it, but I was listening to this Johnny Cash song today that Tom Waits wrote for him - I think that's the story. For some reason it's a thing that sticks in my brain. He's describing this scene where he sees all these almost biblical images happening kind of in this burrow where this biblical train runs through this yard.
Life sort of shrinks and you get older, I don't know if I'm going to have time to do all the things and be all the places as I want to be. Wisconsin's really sacred for me, so no matter what happens, where I end up permanently living, I'll be spending weeks and weeks at least of the year, no matter how many years I live, in the northwestern Wisconsin area.
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.
I don't know, it's dorky. Just like quotes and stuff. Something I want to see everyday or something I want to be there. I don't know. I can put a hole in the wall if I want. It's mine. It's very simple. It's a very tiny house, but I can do whatever I want to. I can rip up the terrible vinyl floor and recycle it. Just create a good space. A quiet place to be.
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.