I wonder a lot about making things meaningful. You want to do meaningful work and make art, but you're making records, which is good, but you don't want to weight them - it's a very curious thing.
It takes so long to make a record and then it takes so long again to release it.
I've always been doing stuff, being creative. But I got to the point where I starting to feel this longing, craving, itchy feeling - which was the first sign that it was time. I've made a few attempts to make other solo records, but when I've looked back at the body of work I've always felt like I was never quite there.
There's all these people involved, and it becomes this huge machine - it stops being just me making my own little songs for myself, or for the world. And it's hard to stop the machine. If you want to take time to write a record, they're like, "OK, tour through March, April, and June, then you can take a few weeks off to record in July before getting back on the road for the European festival circuit." After a while, I had to put my foot down.
A record is worth 10,000 live shows.
Some kid can say, "Hey, I really want you to play my town in Switzerland, or Sweden, or Latvia," and they could have a fun night at the show. On the other hand, all those kids could have a record that means something to them in a more personal way a couple months down the road. The live band is a really important thing for us, but my focus is on the album now.
The touring band is DIIV, and the songs are always written with them in mind. But the new record is going to be more "me."
To be told that you're the voice of your generation is such an incredible amount of pressure, and I haven't faced that. Maybe by the time our third record rolls around, I will. My goals are to be a band like that in five years. At the moment, though, I can't really relate in any sense to the scale that Kurt Cobain fame has reached.
I had these glorified ideas about San Francisco and its drug culture - I thought inspiration would just hit me and I would get these San Francisco drugs in my system and all of a sudden an amazing record would come out. But that's not really what happened at all.
Generally, I think people are just going through the motions now. There's so much stuff that people are doing today that has already been done. I kind of like that new Savages record, but I don't know why they take themselves so seriously.
I don't know if there's anything that would surprise people, because I don't think that anybody knows anything about me at all. There's not much out there. I think I'm going to come out with a pretty dark and troubled record, and it might upset some people.
I didn't have to see this big clock on the wall and worry. Most of the record I made was experimental. If you have a lot of time to do that you don't have to worry about the money, plus, I had no money. It was more out of necessity than choice.
I used to tell myself when I was much younger that I didn't want to wake up one day and be 32 years old and still playing records. It's just not going to happen. Well, the joke is on me, because I'm 56 years old now.
The more you push the budgets up, the more you make records cost $20, the more you make records last 4 and 5 minutes on the radio.
You can't ask someone who is not making that kind of money to go to the record store and buy an album when someone down the street has the same record with same sound quality for $5.
You can always pound out demos and send them to record companies, but most of the successful bands I've seen are the ones that can sustain themselves.
It is nice to travel the world and sell records and meet fans and that is so much fun. But I want to always remember that music can heal and it can make someone's day.
We have to wake up early and make songs everyday. I run my record label. You work at hours where your body isn't designed to work. But it's fun.
I've been doing it since I was prepubescent when I loved to scratch records and play good music. As it happens, you know I sort of fell into the mix. I really feel like I played a role in bringing dance music to America years ago.
When I started Fool's Gold and producing consistent records that were like electro beats with rapping on it that was experimental and weird. I made a mixtape called Dirty South Dance where I put rap vocals over dance music. That was literally an experiment. Now all these rappers are rapping on dance music. This is something I've been trying to build for a while.
When I discovered blues - I was 12-years-old - I didn't discover it in America where it was from; I discovered it from Fleetwood Mac - the original Peter Green Fleetwood Mac, Saveloy Brown - like British blues interpretations of it,' which then, when I started the liner notes and seeing all these names, I was like, 'Who's Willie Dixon?' Then I go to the record store and ask the guy there and he goes, 'Oh, you don't know anything.' And so, to me, that's the root of most of it anyway.
My first record - it was 1991. I was 16 years old. My first album came out when I was 20. So, I've been here that long and I still have the passion to do it.
I don't know why, the very first word on my very first record is 'Jesus.' I still invoke him as an entity to reckon with.
If you listen to old Jerry Lee Lewis records, he'll always - about nine times out of 10 have the lyrics different than the original record is.
I don't know what people think in making record is like. But basically, I got a bunch of spaghetti and spaghetti sauce, and the whole band was staying at my house and we had a ball.
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