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I have a small studio set up in my house in Athens. I'll wake up, have a nice breakfast, and I won't surface until dinnertime. I'm very domesticated in that way.
I've always written pop songs. I tend to take inspiration from more experimental genres, like ambient music, but at the root of the song, it's verse-chorus-verse.
I normally start at the computer with something really simple like a four-bar loop of a drum sample or a bass line. And then I just start adding layers of synthesizers.
When I look back at the record and listen to it, I can sort of see where I was at when I was making it - these brief little moments, different places I was at emotionally.
For me personally, I'm always writing from what's happening in my emotional life. Even without thinking about it a lot of the time, it comes out in the songs that I'm writing.
You hear ten seconds of a song, and you know it's OutKast. There's a strangeness about it because it's catchy, but it's not just pop for the sake of pop. They're pushing the envelope.
The entire making of 'Within and Without' was a series of experiments and trial by error. When I started writing, I didn't have a strong idea of what the record was going to end up like.
If a band or artist isn't tweeting or writing posts on Facebook every day, there can be this kind of mystique built about them, and I find myself retreating from the spotlight more and more.
The Washed Out thing happened really quickly, and I wasn't really actively promoting the songs. I didn't think of them as any more than demos, really, and it sort of became a thing on its own.
I have a little basement studio set up here at my house, and I do probably 80 percent of the recording here on my own. With multi-tracking technology, I can play various parts on top of one another.
Maybe in the future, you'll be able to understand what I'm saying. I'm going more for an atmospheric vibe in my songs. And I really don't want to ruin the illusions people may create for themselves.
Texture is very important. Just the feel of everything. It's not always about recording everything in pristine quality and having everything mixed where it's absolutely perfect. It's more about a vibe.
I lived in a neighborhood where there weren't many kids. I had a couple sisters, but I was very much a loner. Whatever film I had seen that day or that week, I would completely find myself in that world.
I'm without a doubt a producer first. The lyrics happen towards the tail-end of the process, mainly because they're more stream-of-consciousness. It's very rare that I'm going to tell a really concrete story.
When I first started writing songs, I never intended on singing. I didn't really consider myself a singer at all. I was just kind of recording the demo vocals as a holding place until someone else came and sang.
For some, being involved in a scene is a great thing because the social element can drive creativity. For me, though, it's never really been like that. It's the opposite. I've always had this instinct to escape.
I definitely enjoy my time by myself - and that's kind of the weird thing about touring; you're kind of constantly surrounded by people - but I actually do enjoy going out and doing things and being around people.
A lot of the early Washed Out material was done on a couple of synthesizers that did most of the work, but that's the great thing about synths - you can recreate sounds or make an entire record with just one piece of gear.
I took piano lessons when I was really young, like five years old, and I didn't really enjoy that very much. It was kind of too strict. So when I was probably 11 or 12, I started playing guitar and just kind of taught myself.
Being outside is a loose theme on 'Paracosm.' Acoustic-sounding instruments have that warmth to them that is really important to communicate. It was really important for me to tell a story - my favorite records have a narrative feel.
I put some songs on the Internet back in 2009 - that's kind of how everything started with Washed Out. I had never really planned on being in a band or anything like that. It was kind of a hobby I did on my own, just recording music.
When you work this intensely on something, the recording process becomes a bit like cabin fever. I shut everything out and, for a while, I totally lost perspective. To an outsider, I imagine the whole recording process sounds like torture.
There are things I can accomplish in the studio via manipulation on the computer or some kind of effect that are nearly impossible to do live. On the flip side, there are some things that happen live that can't be pulled off in the studio.
I felt like I was building this world brick by brick with each layer of instrumentation I was doing. I could see it growing in some ways. I feel like most writers feel the same way. You're almost living inside of this magic world that you're building.
It's like a painter with various layers of paint. I start with a drum loop and add keyboards, and then melodies start to take shape. The vocals happen later. I've never really done therapy before, but it's a form of therapy. Everything else falls away.
I know of some guitar-based rock bands that refuse to record anything that they can't play live. But some of the best stuff I come up with are studio-based performances - bringing out whatever accident I had in the studio and building a song around that.
I personally love the record-making more than the actually performing and travelling. It's funny, the drastic shift in lifestyle that comes with it. It certainly satisfies my more adventurous side, but it leaves little time for contemplation and all of that.
The music is at this weird intersection of dance music and indie music. It's not quite dancey enough to do a full-blown DJ set, and it wasn't quite rock enough for a rock band. But I guess it's what makes us unique - drawing from a lot of different influences.
Any musician - I would say 99% of musicians - needs some help along the way. Most people, even if they're self-produced, have someone else mix it, or they'll have someone else master the record. Inevitably, it's like somebody else's personality being put into your art.
Where I grew up in the middle of Georgia, hip-hop is king, and on Friday and Saturday nights, local DJs do mixes. It's a great mix of local stuff and then some of the bigger hits and remixes of the hits, and it just has this nice flow with a dirty-South sound to everything.
I remember at one point, with a previous release of mine, I stumbled upon a shareware site, and the total number of downloads was in the thousands, maybe the hundreds of thousands. But there's no doubt that the Internet and that kind of sharing has been a huge benefit for the band.
I was at a slight disadvantage in that I had never played in bands or done any performances before, and that's just as important as writing, recording, and putting records out. It's been a lot of hard work, balanced with a lot of pinch-myself moments of touring in crazy parts of the world.
I definitely enjoy the kind of magic that happens being on stage with a group when everything's working. The vibe when that's happening gets even better if the audience is involved and you can feel that interaction. That's something you don't get with your headphones on in a studio; it's much different.
My parents live out in the middle of nowhere, in the middle of this peach orchard. It's actually Peach County, one of the largest peach-growing counties in Georgia. It's very rural, and there is nothing much going on, so I guess that's had a big influence on everything as far as just not having much to do.
The thing that's good about music-making software like the DAW-kinda systems is that they're all generally the same; the kind of interface is normally laid out in a similar way. Depending on the program, the sounds might be quite different, but they tend to all have a drum machine or synthesizer or a sampler.
I try to be as optimistic as I can. I feel like that's the beautiful thing about art and music. It can take you places, and they can be a positive influence. A very soothing influence. Honestly, I feel like there's enough pain and terrible things that happen in life. That's beautiful thing in art, you can really idealize things.