Now, by and large, people are recording material to put on YouTube. I have a theory that YouTube is, in the end, the #1 media for musicians. Which is strange, because there's a visual associated with it.
I like being a musician that's also a fly on the wall. I like people coming in the room and doing what they do and then leaving. I like attention, but it actually gives me a little less to work with as a performer if people are editing themselves and not being them.
I've never been really interested in music, classical or otherwise, where the craft is more important than the result. I realized quickly that I'd never be a technical electronic musician.
I know some people really try to avoid music when they're writing and recording, but I am very inspired by so many different musicians, and I need to learn. I sit around and try to play along to certain songs that I really love. It helps you explore new territory. I don't think I listen to enough.
I feel like I'm struggling now, and nearly every musician I know feels that way - even the most successful ones. I realize that I'm very lucky, but I still feel like I could be doing so much better.
It was more about getting together with other musicians and playing live. I needed to suss out a full set [for the Last Summer tour], and I didn't want to play Fiery Furnaces material. So half of our set was new songs that we ended up recording for this album. And that made such a huge difference - going into the studio after playing a song for two years, knowing it inside-out and having sung it millions of times, and then recording it is a totally satisfying experience. You're suddenly in this controlled environment and you can make it sound exactly as you've been imagining it.
I'm such a copycat."I want to try and do this like the Donovan song 'Changes'," or "I want to do this bit from Van Morrison." I don't know how else to illustrate something, because I'm not a super-great musician. In that way, I'm more like the producer.
I met my manager when I was 17, when I didn't have enough money to buy a set of guitar strings. There are not very many people who are looking out for you and being in business with you when you're at that stage. And it's not in my nature to think that success as a musician makes you any different from anybody else.
I moved to Portland because Modest Mouse is there. I didn't necessarily mean to live there permanently, but I've got a really good feeling for it. The sensibility there really suits me. I happened to have grown up in Manchester, a city that was a pretty cool place to be a musician. It's close to Portland in a lot of ways.
By the time I was a senior in high school, I was constantly with my headphones, just making music all the time. People were calling me a "musician", and I found that so weird.
If there is any selfish angle, then it would probably be me just knocking myself in the head, thinking "Is there anybody here? Am I still able to communicate with other musicians?"
What I've witnessed, managers are divisive and allow musicians to become clouded, irresponsible, and unaware of the world around them.
It's important me as a musician and also as an occasional show goer to feel the presence of a band on stage, to hear a PA reverberating and slapping off the walls, the push and pull of an audience, the blood, sweat, and heat. It's a primal thing in a way.
There's something extremely fragile about musicians, and that's their strength.
I suppose musicians have the kind of arrogant attitude that they can actually offer the world something, because through their passive power, they're able to be the strongest arms that they can be, incredibly strong. That's what keeps us going.
It's been nice to have a band and people I'm close to that I can get that understanding from and help me realize what I want to do in my life as a musician.
My priorities now a a musician are so different now than they were as a kid. Everyone wants to be a rock star, and I wanted that too; I wanted to be on magazines and be running around the world and having all the fun.
I think certain people would be moved to be nostalgic about America's glory days, when the music set the tone for the cultural conversation and popular musicians had this absurd level of authority.
As a musician, my job is incredibly easy, and it's a good one, but I've got to work at it occasionally.
If parents are aiming at choosing children who will be good athletes, or great musicians, or who will get into Ivy League schools, or who will be tall enough to make the basketball team, then there is a danger that the life of the child will bear the burden of that expectation; and the risk of disappointment and the cost of disappointment will be even higher than they are now, and even now they can be considerable.
I'm not a good enough musician to like completely master something in a couple of days and turn it around.
I fear that I won't get better and that I won't have time to practice. To be called a "jazz musician" - it's a big responsibility.
Even as a fan, as someone who's into his performances, the Stooges and his own stuff, Iggy [Pop] is one of the people who kept underlining something that a lot of my older musician friends with punk roots say: you get into this space in your life where you feel like a weirdo, you're marginalised, you don't fit in... and then you can get up on stage in front of people who probably hate you.
It's just a joy to be able to work with a lot of different musicians. When you play with great musicians, whether they're schooled or self-taught, they keep you on your toes.
I have a nice little idea from some people I met there who are now in their seventies, and I want to tell their story about the revolution through the eyes of musicians, in fact. The '59 Revolution. And what has happened to them since. It's very much a Cuban story. They haven't fared too well.
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