I don't believe in sampling some Tibetan music just to make it sound groovy, but you do your homework, you understand what you're doing with it.
I'm preparing for a multimedia theater piece, Airport Music, that's coming up in New York City.
I don't listen to music when I'm writing, but I often do when I'm reworking, editing or when I need to relax.
This music that was supposed to only come from tapes like in any restaurant. Something would happened. One bird will start to do a little jazz thing, and another bird will start to answer.
There is a lot of work just in terms of traveling and logistics and people and gear and all that kind of stuff. But I never really have problems playing music. That never seems like work.
It's much easier to work on other people's music and play in other people's bands as a guitar player instead of being the main songwriter and singer. That's a really big job to do that.
I think if you're able to make the music you want and you can do it in the right kind of context, you don't have to be a circus ringleader to be successful.
I like to collaborate on my music. The creative process is fun, and you get a lot of ideas from having discussions about it. Ultimately, the final decision is mine.
So, immediately after that, I got a commission to write a piece for chamber orchestra, and in working on the material I discovered it was possible to incorporate the Buddhist teachings into the music, so that's what I started to do.
I listen to a lot of different styles of music. So it doesn't have to be just one thing. I prefer it. If it's not, I get bored very easily.
It's not like I'm hanging out at shopping malls or going to celebrity golf tournaments. I'm so in my own little world. I got my dog, my music, my brother, a couple of friends.
If anyone can figure out how to balance my celebrity and my dual careers in music and film, it's me. I don't feel frightened; I feel challenged.
Some people start with the lyrics first because they know what they want to talk about and they just write a whole bunch of lyrical ideas, but for me the music tells me what to talk about.
I've always said, I thought the Sex Pistols was more Music Hall than anything else - because I think that really, more truths are said in humour than any other form.
Bob Dylan was the source of pop music's unpredictability in the Sixties. Never as big a record-seller as commonly imagined, his importance was first aesthetic and social, and then as an influence.
The Rolling Stones are violence. Their music penetrates the raw nerve endings of their listeners and finds its way into the groove marked 'release of frustration.'
They had the music being piped right out on the street. I'd be three or four blocks from there and I couldn't get there fast enough because I'd hear old Joe holler them words.
I was just reading about Paul Simon in 'Uncut', and it was fascinating. I never think about him much or think about his music or anything, but it's interesting to hear his ideas on stuff.
I don't have any particular goals in making a recording. In a way the recording is itself the goal. The music comes into my mind, and from there the main job is to give form to it.
I explored rock culture and what the guitar can do though people like Jimmy Page and John McLaughlin, and the music moves away from pop.
Joining Modest Mouse was just consistent with what I used to do as a teenager: I followed where I thought I would make some interesting music.
