A Quote by Adam Granduciel
I love playing guitar every night, and to be at this point where it's like, the songs are done and I'm happy with the way they are on record, and I get to hear them be reinterpreted by the live band? That's kind of the icing on the cake. It's the best.
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I just love cake, confetti cake, to be specific. It has little colored candies inside the cake, and then you get the confetti icing, which is really hard to find sometimes. It's really hard to explain to people, because it's not icing with sprinkles on top. It's icing that actually has candies inside of it. It's Funfetti icing.
It's always a blast playing the new stuff. But I feel like songs, in a way, are never finished. You get to a point where you're comfortable enough to put a stamp on it and send it out there, but even after recording it, when you're playing it live, you hear different harmonies, you hear different notes, you hear different tempos or peaks and valleys in the song.
A friend of mine introduced me to Thurston Moore because she thought I would like him. He was playing with the tallest band in the world, the Coachmen. They were sort of like Talking Heads, jangly guitar, Feelies guitar. Anyway, it was love at first sight. His band broke up that night. And we started playing.
I certainly didn't predict people who spent years actively disliking the band to all of a sudden like the band. That's pretty funny to me, and it makes playing live kind of interesting, 'cos we're doing lots of things that don't really have a lot to do with that record, and even presenting the songs off that record in a way that's a little more muscular and without as much of the sheen, which is what I think part of what people really liked [about Kaputt].
I told her that I can't be doing with the Wonder part of these trips, but she said it should be the icing on the cake... I've never liked wedding cake due to the amount of icing, but then imagine a wedding cake without it; just a dark, stodgy, horrible dry sponge. The icing covers up the mess, and that's how I feel about most of the Wonders. They use them to get people to visit a place that you probably wouldn't think about visiting.
When you make a record, you get to live in an imaginary world where you have the best kind of band on every song.
I would have done anything. I just really love the Duplass brothers. I was at a place where I was desperate for good writing. It wasn't the part that attracted me to it; it was just to be able to work with them. And the fact that she's this kind of, like, loose cannon and this kind of desperate 40-year-old is just the icing on the cake.
When people get cancer now, the first thing you do is you go to some doctors to get some advice, figure out what to do. People live a long long life after a cancer diagnosis. Not that it's not scary. The people I know have done so many stupid things. And they're still alive. Just being alive at this point is kind of icing on the cake.
Well we usually just try to do a mix from all the albums so if somebody just has one they don't get bummed out that they don't hear anything from that record, then a couple songs you'll only hear live. Just kind of wing it you know? And sometimes on a tour you'll get with a set-list you like and you kind of just stick with that.
I wanted to hear the songs in the way that I had written them, which was, in a way, very basic. So all I wanted to have was drums and another guitar pretty much playing what I wrote on guitar, and I was just going to sing.
Playing live is about going for it .. it's about bringing it ... you should see a bunch of people trying out stuff, actually performing, instead of learning the record and recreating it note for note. I can't play the show the same way every night .. I really need to be in a creative environment, every night or I'll go nuts ... my manager accuses me of singing just long enough to get me to my next guitar solo - which is true.
The live thing is separate from the record for me. I have to figure out a way to make the songs work live. It's always going to be different than it is on a record, because every record I've made, there are people playing parts on there that are not going to be coming on tour with me. As much as still feeling connected to it, it's more like rediscovering.
I do not want and will not take a royalty on any record I record. I think paying a royalty to a producer or engineer is ethically indefensible. The band write the songs. The band play the music. It's the band's fans who buy the records. The band is responsible for whether it's a great record or a horrible record. Royalties belong to the band. I would like to be paid like a plumber. I do the job and you pay me what it's worth.
All those experiences were a chance to learn more about music. Playing with the Valley band is like such a "live" band. I mean, really, in many ways Bright Eyes is really a studio project. We form bands to tour, but it really is - you know, we take the songs and we figure out how to decorate them and it's all in the studio, we build the songs that way. Whereas Mystic Valley Band was the exact opposite, where everybody knows what they are gonna be playing on the song and there's sort of a general stylistic approach, and then it's just plug in and play.
A guitar for me is pretty much strictly in the context of writing songs for my band, coming up with ideas with my band, and then being able to perform those songs as best as I can on stage - that's what the guitar for me has always been.
'Something/Anything?' was kind of a different record, since I'm playing everything myself. A lot of the songs on there have a particular kind of instrumentation that is much like a guitar quartet, and in some ways, it's an exceptional song on that record because so much of the writing on 'Something/Anything?' is piano-oriented.
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