A Quote by Kieran Hebden
Make a record in your bedroom on a cheap computer, play it on pirate radio, and that's what's it's all about. You can do something really exciting and you don't need any record companies. The way I do everything comes from that, the impact of those two things.
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The old ways still apply. You can still send tapes to record companies, and there are record companies, you know, there are one or two of the record companies do declare proudly that they listen to every single one that comes.
When radio stations started playing music the record companies started suing radio stations. They thought now that people could listen to music for free, who would want to buy a record in a record shop? But I think we all agree that radio stations are good stuff.
I love to play music, and this is fun, and let's record this stuff in a way that we both like. That was exciting enough, so we just recorded it. There was no business in it until the very last minute, really. It was really as much of an extension of me writing the songs in my bedroom as it could possibly be.
I don't think any of us felt like, "Oh, we need to put joke songs on the record." If we found something funny, we would record it, and if we wanted to, we'd put it on the record. It's not really something we spent too much time agonizing over.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
I met Arcade Fire on their first record, 'Funeral.' I loved that record, and it was a record I was listening to while I wrote 'Where the Wild Things Are.' Those songs - especially 'Wake Up' and 'Neighbourhood' - there's a lot of that record that's about childhood.
Springsteen on that record started writing less about having your wind in your hair and turning the radio up and more about being dragged down by adult things. Regular people trying to get ahead. A little less mythical and romantic, and more real. It's a really spectacular record for that reason.
This is how I feel about everything that's out of your control: once you make a record, it's not yours anymore. There's nothing you can do. It's the way I feel about political movements - both of those things grow on their own.
You could have a zillion Facebook followers. Those people don't buy records. It's about a hundred to one...Record companies, they don't have any money, so they see social media as the free marketing... So... 'Billy, light yourself on fire and stand upside down, and that'll market the record.'
You're just these kids from a small town. You get a record deal, and everything just goes so fast. In the span of five albums... in a way, the band that you started in your bedroom, or your basement or your garage, kind of becomes not your band anymore. It becomes something bigger than you could have known. No one really prepares you.
Record stores are the backbone of the recorded music culture. It's where we go to network, browse around, and find new songs to love. The stores whose staff live for music have spread the word about exciting new things faster and with more essence than either radio or the press. Any artist that doesn't support the wonderful ma and pa record stores across America is contributing to our own extinction.
There are three things we need to do for a band. We need to make a great record; we need to get the record played; and we need to find an audience for the live shows.
I wish I could go out farther from my musical history. I didn't realize how hard it was until I tried to do it. All the basic tracks on Romanian Names were done in my basement, alone, without any of the self-consciousness that comes with being in the studio. It was a completely different process. And those two things definitely made the record sound different. But you want this quantum leap from record to record, and maybe if I did make a quantum leap I'd make an unlistenable album. So maybe I'm lucky that I can't pull it off.
I didn't really feel any pressure when I've made records, I haven't as yet anyway. I feel when I'm making a record that I'm so excited about making new songs that when I'm doing demos of new songs, as soon as I make one that's really different I get really excited about the record, I don't care about the last record anymore.
I think a bigger difference with social media is going to be things like the impact Instagram will have for historians. For the longest time, we had no images of the past. And then when we had the advent of the camera, we had a record of the things people chose to photograph, which, for a while, were portraits of your family, a new building we built, or a really big horse. Well now we have images of everything. That will be the biggest difference I think - that we will have a visual record of this reality in a way that will be completely covered.
You could have a zillion Facebook followers. Those people don't buy records. It's about a hundred to one...Record companies, they don't have any money so they see social media as the free marketing...So,...'Billy, light yourself on fire and stand upside down, and that'll market the record'. I've spent a lot of time thinking about this. I don't think people by records because of anything that happens on Facebook. They buy records cause they're friends say 'I bought this record and I love it'.
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