A Quote by Brian Eno
The micro-compositions are the pieces themselves, but the macro-composition is the whole set of them and how it moves from track to track and how the titles relate to one another, for example. Always when I do records like this of a selection of instrumental pieces - the titles, to me, are very important.
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Most of my records are very dense, composition-heavy, and there's bits of different kinds of music like an acoustic ballad, instrumental trio pieces, and vocal tracks.
In terms of picking album titles or picking track titles, I think very carefully on all of that because that is the entrance point.
In period pieces or genre pieces, those have to be set in historical truths. But, science fiction has different game pieces. And with those game pieces come other stories we're not familiar with. So, science fiction teaches us how to relate to outsiders, to foreigners, and to not approach any of that with fear, but a genuine curiosity.
I've been very fortunate at having good titles but I just think in terms of titles. I'm doing a workshop now where people write books and they come and I name their books for them. I'm good with titles.
The instrumental pieces are compositions, certainly, although that's not the language that I instinctively use. They're not scored, and arrangements are often arrived at collaboratively. I always choose to play with people whose input I desire.
'Dune' was like a giant machine, and it was hard to keep track of all the pieces, but 'Blue Velvet' was a very sleek, compact little experience.
There's this trouble with books for me because I'm terrible at thinking of titles. The truth is, even with the titles that I've landed on in the end, they always feel wrong. I think it's because of this whole problem of having to package your book in a certain way.
I did volleyball, basketball, and track all through high school. And then I went to junior college and I stuck with track because I was good at shot put and discus. And then I got a full ride to Fresno State for their track program. Shot put was my main thing. I was the five-time All-American, and I set a couple records.
You always have to be keeping track, especially in this scenario [ The Hateful Eight], of where everybody is. They're pieces on a chess board.
I like to go for a certain over-the-top opulence when naming the drone pieces whereas the song titles are all about concision, I guess. I mean, if I were truly a purist, I'd call things, "Long Piece #27" or "Newest Fast Song", but I enjoy titling and it is helpful at rehearsals or when making set-lists.
I was running track early in my years and I was breaking track records in sprint running. I was training and I wanted to be in the Olympics. I thought I was going to be able to win a gold medal, and my mind was pretty much set on 'this is what I want to do'.
I'll go in the studio and hear a track that I don't like, and they're trying to pay me to rap over it. But I'll tell them I just can't do it. And when they ask why, I say, 'Because then somebody's gonna hear it... damn, find another track.'
What track needs to figure out: how to engage us between the races. Instead, the entire off-the-track conversation is about doping. This is how you kill a sport.
It is an important competition and I certainly rate my gold medals at the Commonwealth Games right up there with my world titles and my Olympic titles.
It's weird because I see black gay characters on television all the time, but do I relate to them? Not always, because they're set pieces.
Like my little sister and brother, I always play them my music because I want people like them to be able to relate to my music. They always know what's going on; they're up on what's new. For me, when they hear my music and they like it, I'm on the right track.
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