Quotes of All Topics . Occasions . Authors
I like a bass drum. A big one.
I'm artistically satisfied and happy.
I consume the news daily. I'm not avoiding it.
I think that as a kid I was pretty drawn to melodrama.
I was really into Michelangelo in seventh and eighth grade.
I don't get to make many choices in my life as a single parent.
I am so thirsty to do my projects whenever I have a spare moment.
Comedy is deep and wild and I am excited about the mysteries within.
A weird side effect of being in close proximity to death is an urgency.
I just can't turn off the part me that asks that question over and over.
I want to not be associated with death or cancer, I don't want that life.
They're all true - the cliches like 'one day at time' and 'ups and downs.'
Usually I work at the merch table until one minute before I have to go on stage.
People used to assume I was a serious/sad person because of my music for some reason.
It has happened a few times that I've found myself in a surprise mid-tour recording session.
My daughter is like a tether back to the functional world, and I'm aware of how helpful that is.
I am commodifying my grief, to put it really bluntly. I accept it. And I try not to think about it.
Grief - the actual, natural process of it - doesn't have a schedule that I can work my life around.
Somebody from Pitchfork Festival wanted me to have a Microphones reunion. It's a joke. It's just me.
I'm mostly fine with anyone using my music for whatever. Everything's just compost that gets reused.
I always like to play in beautiful cathedrals, when I can somehow get access to do a punk show there.
When I first started recording music, I was actually singing about microphones, equipment, recording.
There are some people that are trying to cure death, this tech immortality... That seems mentally ill.
I think I'm obsessed with accessibility which is why, when I'm touring, I want to play all ages shows.
It's nice to have a band that can adapt to whatever show we're in, so we can play on a big stage or a house show.
After many days of grocery store food, sitting down for a deliberate, slow, expensive eating time can be the best.
I just play under the name Mt. Eerie. I started doing that in 2003 and I've pretty much been doing that since then.
It even feels absurd to be writing or singing a song at all - in the context of actual death, being alive feels absurd.
I'm not a perfectionist. I don't have enough patience to go over the same details over and over trying to get it perfect.
On CBC Radio, the Canadian national radio, there's a show called 'WireTap.' The host is Jonathan Goldstein. It's amazing.
I like the experience being in the audience and being overwhelmed by sound, like thick, oppressive loud sound and distortion.
Nirvana really touched me as a teenager and started making me pay attention to music as a participatory thing that I could do.
I remember discovering that I loved recording - that breakthrough when I was in high school getting to record for the first time.
I'm open to making any kind of music, or maybe making no music ever again. That's also an option, always. Who knows what'll happen.
There are a lot of names on the credits of 'The Glow Pt. 2,' but most of those people are just on one half of one song or something.
Recording and touring are totally separate universes for me and it's strange and refreshing when they invade each other momentarily.
I am not satisfied with the ending of 'Mount Eerie' the album, so maybe by calling myself that, I am attempting to elaborate on the ending.
My grandpa is the funniest person in the world, straight up. But mostly everyone in my family groans when he is 'on.' I am his biggest fan.
I grew up without religion, but my parents have always been somewhat mystical about nature: The mountain is looking at us, stuff like that.
In the early '50s, my great-grandmother and grandfather raised a baby gorilla named Bobo who wore clothes and played with the neighborhood kids.
I start with the aim of making something instrumental, and then I'm just like, 'Agh, no, it's not interesting enough. I've got to say something here.'
I love things like the Criterion Collection DVDs. I think those are really well done. I like how far you can push the deluxe-ness of things like that.
I can't bring myself to release an instrumental album because I feel like I want some meat on the bone. Something to chew on, lyrically and content-wise.
For awhile the only thing people were talking to me about my music, that's all they ever said: 'You must be a nature lover. Are you camping all the time?'
If I wanted to make big, bombastic, distorted, echo-y, trippy music, the atmospheric stuff, a studio is nice. But it's nice to know that it's not necessary.
I'm singing these songs about death and stuff. I see somebody who's, like, in their sixties or seventies at the show, and I'm like, 'Yeah, sure. Fair enough.'
It would be amazing to write a song that could be sung 100 years from now by a teenage girl and still be relevant to her - that's a dream of songwriting, maybe.
Nirvana was happening when I was 14, kind of the perfect age. Growing up in Anacortes, Washington, it was close enough to Seattle that it seemed like a local thing.
Eric's Trip is still a huge influence on me. The style of those recordings and the rawness of them is very inspiring. And the density of the distorted parts, amazing.
Being a musician means I am 'hanging out' a lot, like driving on tour or being at a show or whatever, so maybe there's more time to interact with peers and develop jokes.