A Quote by BØRNS
There's really not much conscious thought involved when I record. I just kind of record what feels good. I'm not trying to make it sound like anything.
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The first record was basically a quick, fast record. The second record, we were going for more of a poppier sound - like a heavy pop sound. For 'Rocket to Russia,' we'd sort of reached our pinnacle. We'd gotten really good at what we were doing, so that's like my favorite record - that's a really good record. It's just great from beginning to end.
This record for the first time - feels like a record that really represents my whole entire life and instead of just a period of my life. And it is really kind of eye opening and it makes me feel really good to hear this record and hear all the years.
Especially when the expectations become so high of you, you always remember the last record that might have been really successful, and you're trying to outdo that or trying to make something that does not sound like the last record.
I try to make music with emotion and integrity. And authenticity. You can feel when something's authentic, and you can feel when it's not: you know when someone's trying to make the club record, or trying to make the girl record, or trying to make the thug record. It's none of that. It's just my emotions.
When I record, it feels like I'm in a bubble. There's nothing else in my head right then. It's just that song, and I'm trying to really sound like what the song is about.
I think I'm just trying to show a more mature side of the band and I think we've really come into the sound of our band. With every album we've grown, but I think this is just a really good picture of where we are right now and how we feel our music represents us. Under the thumb of other record companies we haven't had as much creative control and I think with this record we really did our own thing.
I was always just into my music and maybe into trying to save the world a little bit. I never really thought I'd have a hit record or anything like that. I was prepared to travel around all over the country, kind of like a Johnny Appleseed, and sing.
'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.
We went into that knowing that we were never going to sell a major record 'cause we didn't sound like these bands, so I just thought this was an opportunity for us to make the kind of records that we wanted and make some money at the same time.
When I first got my record deal, I was like, 'I just want to sing,' and I never put much thought into what really goes into a record. But as I got older, I developed a passion for writing.
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 really like to think of each record as its own thing. So, for sure, but I hate the idea of being stuck in anything. Like I want to do a Hawkwind-style record too, or a noise rock record or a hardcore record. Why not, you know? I would just not want to keep heading too far in one direction, without pulling off and going the other way.
I really like to think of each record as its own thing. So, for sure, but I hate the idea of being stuck in anything. Like I want to do a Hawkwind-style record too, or a noise rock record or a hardcore record. Why not, you know? I would just not want to keep heading too far in one direction, without pulling off and going the other way. That is what is fun for me.
I call it "being interrupted by success." We had done The Soft Bulletin, which came out in 1999, and we knew we that were gonna make another record before too long. But in between this, we were still in this mode of kind of just - not re-creating what we could be, but kind of doing different things. For the longest time in the Flaming Lips we were like, "Make a record, go on tour. Come back, make another record," and you know, I think, frankly, we were kind of like, "There's more to life than just recording records and going on tour."
I would INSIST this record is in NO WAY COLD influenced. Don't get me bent though, I have been a huge fan of Cold from day one. One of the best most awesome song writers. Kelly has in OWN sound, He recorded on the POINT OF ORIGIN Record so there, of course, will be something that familiarizes the Cold sound. But Allele is much heavier, and just kind of warmer, different techniques and a different sound all together. Allele I think is more intense.
When I produce someone's record I have to remember it's their record..no matter what I bring to it..er, sometimes that's not too easy:) It is a responsibility made less easy by people I work with encouraging me to play guitar on their record...A soon as I start playing guitar on someone's record it inevitably starts to sound like me...not always a good thing.
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