I probably listen to Burn more than any of them, because it was so new me, so novel. To see my name on an actual record was such an incredible feeling.
I still listen to older music a lot more than new singers. I listen to whatever's on the radio, but when I want to listen to something that moves me I put on a Stevie Wonder record.
I didn't feel the need for anonymous affection, for people in the dark applauding. To me, it would be like writing a novel and then getting up every night and reading your novel. Everything I did is on the record and, if you want to hear it, just listen to the record.
The decision to change the name meant we were getting serious, because we couldn't make a record if some other band had the same name as us.
I told the boys I was in a record store, thumbing though 45s, and I'd seen a record with the name the Warlocks on it. I've often wondered whether I hallucinated it, because I never saw the record again and I never heard a word about any band called the Warlocks.
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.
When I listen to and play the songs from 'Narrow Stairs' now, that record feels like a record where we had established a style that arguably was more our own than it was in the beginning. Going into that record, I felt a lot more confident in my songwriting. It was a fairly prolific time for me.
I don't listen to music. I very rarely listen to music. I only listen for information. I listen when a friend sends me a song or a new record.
I walk into the most incredible fashion houses and see the most incredible things - new technology, new ideas, new music. Incredible lighting, new girls.
Making the New York Times' list is the kind of thing you don't even let yourself imagine because it seems so unlikely, so it was incredible to actually see my name there.
When a novel is based on an actual crime, it should do much more than loosely fictionalize it. The novel must stand alone as a work of art that justifies using the story for its own purposes.
It's always interesting to me to see people projecting things, like people would say, "This record is much more mature than your other record" and I would think, "Well, this record has more songs from when I was 18 on it than the other one."
More than anything, being an English major made me more appreciative of authors and what an incredible feat it is to just finish a novel, let alone a really brilliant one.
I tried to bring in the live orchestra like Bjork does. I love the feeling that that music gives me when I just listen to it. I mean it would be awesome to do an entire record like that. But unfortunately that's not my style. So rather than do a record like that I just got inspired by it.
Old school new school need to learn though I burn baby, burn like Disco Inferno Burn slow like blunts with ya-yo Peel more skins than Idaho potato
When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble. I don't only listen to the guitar player.
Israel is a fulfilled dream. Nothing that exists here existed here a hundred years ago. "The State of the Jews" was not a title of a country. It was a title of a futuristic novel. A little more than a hundred years ago, "Tel Aviv" was not a city. It was a title of another novel written by the same author. The "Return to Zion" was a name of another novel. There was a bookshelf. There was no state. There was no nation. All you can see, if you look through the window - everything you see is a fulfillment of dreams, different dreams.
I feel like the 'Supernova' record, those songs are very me. It's a more honest representation of me than any record I have made prior to that.