As a listener, I like a wide range of sounds.
I think you set up certain standards. I've always kind of believed in the Neil Pert way of making records where I'm trying to step it up every time I do something. You're trying to better yourself. You're also trying to make your audience or your listeners more interested. So, if you can up it, I think that's important.
When will talkers refrain from evil speaking: when listeners refrain from evil-hearing.
I really tried to push every genre that I could into this record. I wanted every song to have this feel, where as soon as the listener tunes in, they say "That's CoJo, that's Cody right there." That being said, it is a little different. There's Americana, there's Bluegrass, there's some rock, there's some really George Jones-style stuff on it, slow-style Ray Price country elements, there's some modern country, a little of this and a little of that. We tried to push a lot for show versatility, because I grew up with a lot of versatility in my music.
I can't say that there's a common practice that has to do with pitch language or with the way pieces are put together because today, anything is fair game. As far as I'm concerned, my own common practice is a piece that engages the attention of listeners from beginning to end, and doesn't rely on or expect the listener to zone out.
If the music has a logic of its own - as I think my music has - an open-minded listener will apprehend and understand.
A suffering person does not need a lecture - he needs a listener.
If anything, I feel that the current generation of listeners of heavy music are progressing a bit passed their gateway bands and are digging deeper than they used to and understanding more abrasive and complex music and art. It's like being around an unfamiliar language long enough that it eventually begins to make sense.
What separates great jazz musicians from average ones is Taste. Those who have taste consistently choose notes, tempos, timbres and voicings that seduce and satisfy attentive listeners.
I was not a writer to begin with; I was a listener.
I love good momentum. It makes everybody happy and in this time that we're living in, especially musically speaking, if you can make a record that has more than 4 or 5 songs deep and it has a good variety of songs. You don't frontload it with those first couple of songs. You continue the record taking the listener on a journey, musically speaking. I think you've really got something there.
The reason that I'm considered to be prolific is just because I'm a good listener. It literally is me taking dictation when I write. I'm listening and typing as fast as I'm hearing the words.
The best musicians are not the best players, they're the best listeners.
To do my job well, I have to be a good listener. The listening is so much more important than the talking.
Fanzines are very important for sharing stuff that you're in to, with the readers and listeners. We met through the love of discovering music and it makes sense, to want to share that music with other people.
There's going to be a lot of eating. My listeners have tweeted me and said "You've just got to keep eating, keep your energy up and have someone on duty to give you a massage if you need it." It will be a case of getting it done and making sure I don't get too cold, because that's crucial for the muscles. So that's all going to be taken care of. But really there's not much you can do - if you start cramping up you've just got to get on with it.
I don't release many records just as "Fennesz," so when I do, I want to plan everything in detail. It's not that I want to really lead the listener somewhere; it's more about me being satisfied with a project.
As I'm writing it, I'm kind of curious to see what's going to happen. It almost feels like I'm the writer and I'm the listener, too.
My absolute favorite song I've ever written is "This Is Where We Came In." It's a nudge at younger listeners, cause at one time you could go into a cinema halfway through a film and then stay through and pick up where you left off.
Radio affects most intimately, person-to-person, offering a world of unspoken communication between writer-speaker and the listener.
Since hearing beauty in something is essentially a positive response and hearing ugliness is negative, might it ultimately be more difficult for an open-minded listener to define ugliness than it is to define beauty?
We cannot be speakers who do not listen. But neither can we be listeners who do not speak.
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