A Quote by Caroline Shaw
I was curious about experimenting with different colors - kind of like having an expanded orchestra. Suddenly, instead of just writing for strings, you can add bassoon and oboe and brass. I like these extreme differences in sounds right next to each other.
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It might work with one orchestra, and the next orchestra - the oboe player might not get it. It's different every time, but some of the orchestras do end up enjoying it and having a great time.
The Metropole Orchestra is like Count Basie or Duke Ellington with strings... it's strings that swing. Strings that swing like Dizzy Gillespie... keep swinging, baby. And when you have all of that special excellence of the Metropole Orchestra, then your music just flies - it soars in a way that's really magical.
The fact that you're having disagreements with each other isn't a problem -that just shows that there are some areas of your relationship that need to be worked on. And that's normal. People are different, so of course you're going to run into times where your differences come out and rub each other the wrong way. But what's important is that you both commit to work on those differences until both of you are satisfied. When you do that, you're walking the right road together and over the long-run you'll do just fine.
I like to piece together different guitarists, unlikely bedfellows. You have Jonny Greenwood playing next to Nile Rodgers on the same track, so it becomes like an orchestra of sounds.
'Color' is quite different from 'colors.' In an image with many colors, we find that all the colors compete with each other rather than interacting with each other. The results" colors.
I had just finished a run of shows in the States and went to NY to work with BenZel for a couple weeks, mainly as a different focus to touring. I didn't have any expectations or pressures with what would come out of those two weeks, and think 'Tough Love' sums this up. It was me experimenting with my voice and having fun with it. It just felt right and kind of dictated the route of the next album, much like 'Devotion' did on my first album
If you take a violin, you can make it sound 50 different ways. Not just pizzicato and played by the bow, but ponticello, and harmonics, and tremolos. If you take an oboe and play it, there's about one way you can make it sound: like an oboe.
I'll play about with different sounds in the studio with no concept of music at all. I'll just build up a song in layers and when it sounds all right and gives me a vibe, that's enough, and I'll add vocals and move on.
We lie in each other's arms eyes shut and fingers open and all the colors of the world pass through our bodies like strings of fire.
The trombones crunched redgold under my bed, and behind my gulliver the trumpets three-wise silverflamed, and there by the door the timps rolling through my guts and out again crunched like candy thunder. Oh, it was wonder of wonders. And then, a bird of like rarest spun heavenmetal, or like silvery wine flowing in a spaceship, gravity all nonsense now, came the violin solo above all the other strings, and those strings were like a cage of silk around my bed. Then flute and oboe bored, like worms of like platinum, into the thick thick toffee gold and silver. I was in such bliss, my brothers.
The bassoon is one of my favorite instruments. It has a medieval aroma, like the days when everything used to sound like that. Some people crave baseball...I find this unfathomable, but I can easily understand why a person could get excited about playing the bassoon.
But the stuff that I do is more like all the comic roles like in The Merry Widow and Die Fledermaus and I just did this Offenbach operetta at the LA Opera. I love it. I just love it. For me, it's like a great mesh of musical theatre and my classical oboe background to be standing on these huge stages with a full orchestra and all the opulence. I'm a complete sucker for the over-the-topness.
Those same people, when they leave the theater, when they look behind the curtains they are curious about their neighbors, they can guess if their neighbors are siblings or a couple, how old they are, what their occupation is. They are curious about each other and they can understand each other without being fed information. Why should it be different in cinema?
There's such an extreme feeling to be in love, especially in quite an emotionally destructive relationship, where you're both kind of really bad for each other, but you love each other so much. Those extreme emotions, I think, can only be described with extreme imagery.
Freestyling helps me portray the emotion that I'm feeling right there instead of writing it at home and having to add to it.
I think a lot of electronic musicians are drawn to starting with texture because the whole reason we're working with electronics is to try to create new sounds or sounds that cannot be created acoustically. When you're doing that, it's nice to be able to just create a different palette for every single song. I feel like a lot of electronic music sounds like...Each album sounds like a compilation more than it does a band.
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