I had to have the record literally taken away from me. I am such a perfectionist.
Somebody who knows all about how to make the record, or how to make records, they know how to work the EQ and they know how to work the stuff, but they don't know what I want it to sound like. So it's just easier for me to do it myself.
I feel like every great record is like a world in itself.
I think that when people download the record they're kind of missing out on part of the experience, because it's really meant to be an immersive experience.
You just have to follow your own heart. I listen to so many different kinds of music and at the end of the day you want to make a record that you're super proud of.
Both my parents recognized early on that I wanted to do something in comedy, and they were really supportive. They're the ones who bought me Steve Martin records and let me watch R-rated comedies long before they probably should have.
All the songs on Yankee Hotel Foxtrot are the encapsulation of heterosexual love. I have different records for gay sex.
I want to make music that I know that ten years from now, you can put it on and say "This is a great record".
The one thing I always loved about Michael Jackson: he had fun records, but he's also going to make some important statement with the music as well. He's not going to forsake the culture.
There was no indie rock band in the 90s at the level of, like, Grizzly Bear. I listen to their records and it's crazy how good they sound. That really freaks me out.
In reality, there's a limit to putting a record out yourself. When it comes to working with major record companies in the context of them owning anything, though, that will never happen. Ever. In my life.
Oftentimes, when people cut a record from analog tape to vinyl, they digitize the music first; I did a little investigating and discovered that most vinyl records that I've ever heard were digitized before they were put onto vinyl.
When you're making an album with people who made your favorite records as a rebellious teenager, it feels like you've achieved something.
I didn't want to make a record that was just guitar and voice, that was just the technology available to me. At the time, I remember thinking, "I am making a Faust album." That didn't translate.
My big regret is that my brother and I didn't start doing what we did like, 10 years before. I feel like then we would have sold some records. We started pretty late - I was 27 when our first album came out.
Navigating with a partner makes it half as difficult. We keep each other in check. It's not like she [Angie Marr] was ever a quiet little wifey wife behind the scenes. She's exactly like me. She's very smart. We're very lucky that we've always wanted the same things. She loves guitar music, she loves important records, and our lives are about records and shows and great bands.
I haven't been walking around for years with some burning desire to do a solo record. If I had, maybe I'd have made a record that was experimental. Usually, the idea of a solo record is to get some weird stuff out of your system, but I don't think like that. I wasn't interested in making something that was a hard listen - maybe I'll get around to that some other time. I wanted it to sound effortless, not like I was trying to reinvent the wheel.
In the earlier part of the 90s, I was really hell-bent on discovering how new technology works and how to make records entirely without a producer, which isn't necessarily what fans wanted. But I had to do it because I felt it was in my destiny or whatever.
[My friend and I] decided, we'll go to Corsicana, and we'll see what the people in Corsicana say. ... We just started meeting people and talking to them, and the more I heard the stories, the more red flags kept popping up. There was this disconnect between this person [Todd Willingham] that I'm reading in the court records, the prosecutor's statements, and this person that I'm learning about.
We have all the technology to record things in the streets. Now the historians cannot twist it or change it, because we have cellular phones or video cameras, and we are filming in the streets what's going on. We have the voices of everybody recorded. There's too much recording and I think that's wonderful.
It can be really weird to say, 'Hey man, let's make a record and start with this horrible zither sound.' But I was obsessed with the idea of taking a sound and completely phenomenologically thrashing it."
As a writer, I never paid much attention to the length of titles. I've just wanted them to communicate the emotional overtones of the content of a record or song that they are describing
I have heard a lot of stories - we're putting this in for the monitors, we've got this other set of records. This is a relatively new field, but they're getting better. They're getting more resources from the companies. At some point the factories say, okay, this is here to stay.
For me able to do the records I want to do and not have to worry about this producer or that producer or that trend, I'm not really interested in that.
The band has always been such a huge part of my life and it kept me very busy. That, in combination with something like running a record label, just means my whole life revolves completely around metal music and I can't do that anymore.
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