A Quote by Doug E. Fresh
It's like having a conversation. Doing beatbox for me is as natural as talking is for someone else. Sending sound through a certain part of my throat, so that I am accurate every time. It's not like whatever happens happens, this is a focused sound.
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There's a difference between writing, the written word, and music. When you have the blank page it doesn't make a sound, which is like what happens to me every night when I'm playing. There is that crazy moment: the first mark you make on the page. But sound can inspire sound, in a way that words can't inspire words - at least for me. The nature of sound itself is still a huge mystery to me. I'm very happy about that.
The sound of 'Take Her Up to Monto' and 'Hairless Toys' is the sound of me and the producer in the studio doing whatever we like. There is no reference. It's too easy to be referential now; I'm trying to find something else.
I like loud electric guitars because I like how you can just lose your entire being in the sound. But I can't find myself in a situation where our band Swans is doing typical chord progressions - it just seems cliché to me. Even changing chords sounds like a cliché sometimes, though it happens occasionally in our music. But you find ways to push yourself into the sound through repetition. It doesn't stay the same. It morphs constantly.
Now, what happens whenever there's a loud sound is that it startles us, right? And we arrest what we're doing, and we try to localize that sound because that sound could be a threat. That's something that's hard-wired in our bodies.
The R.E.M and Nirvana successes don't mean much to me except as a potential distraction for bands who want to cash in on the trend. Don't try to sound like someone else. R.E.M and Nirvana don't sound like anyone else.
Except...I do. Of course I do. Because as his hands gently cup my waist, I don't make a sound. As he swivels me around to face him, I don't make a sound. I don't need to. We're still talking. Every touch he makes, every imprint of his skin is like another word, another thought, a continuation of our conversation. And we're not done yet. Not yet.
All music done, as I said, through low res mp3 and $5 earbuds and so I think as a producer or a band you want your music to sound good in that medium. Sometimes when I'm doing a mix I'll listen to it on my laptop, on the crappy speakers on my laptop. It lets me know what the tracks gonna sound like if someone else listens to it that way.
When we sit in meditation and hear a sound, we think, 'Oh, that sound's bothering me.' If we see it like this, we suffer. But if we investigate a little deeper, we see that the sound is simply sound. If we understand like this, then there's nothing more to it. We leave it be. The sound is just sound, why should you go and grab it? You see that actually it was you who went out and disturbed the sound.
When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic - here on Sixth Avenue, for instance - I don’t have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound... I don’t need sound to talk to me.
I recall a conversation I was having with Pharrell one time. We were in the studio talking about R&B, and he said 'You're like me, we're like each other, we think the same way.' He's one of the few people I would consider a mentor, not because I look up to him but because he's actually given me sound advice and it came from a place inside of him.
Educators who have said, "We don't like that, so we'll continue to teach as if it's not happening," are just aggravating the gap between what happens in schools and what happens in the real world. Because of their personalities, or for cultural reasons, some kids might better express themselves through moving images and sound.
The REM and Nirvana successes don't mean much to me except as a potential distraction for bands who want to cash in on the trend. Don't try to sound like someone else. REM and Nirvana don't sound like anyone else.
Daniel Boulud told me at a young age, 'Whatever happens to you in your career, you're going to be great - be humble. Just be humble.' And I think about that daily. Like, whatever happens to me, whatever awards we win as a team or whatever else, just be humble.
You see people you identify with, and you take pieces of people you like and shape who you are. Like, I sound just like my dad. But that's literally my vocal chords. I can't sound like anything else... I sound like him, but I act like myself.
Think of the sound you make when you let go after holding your breath for a very, very long time. Think of the gladdest sound you know: the sound of dawn on the first day of spring break, the sound of a bottle of Coke opening, the sound of a crowd cheering in your ears because you're coming down to the last part of a race--and you're ahead. Think of the sound of water over stones in a cold stream, and the sound of wind through green trees on a late May afternoon in Central Park. Think of the sound of a bus coming into the station carrying someone you love. Then put all those together.
You're limited to one image, but you can have 50 audio tracks. It's something you'd be foolish not to experiment with. So I'm also very interested in sound that happens offscreen. I think that's a way to expand the scope of the movie. And it's all very planned out from the script stage. For me, sound design is a major part of the narrative. I think that's what makes working with certain people on the producer level difficult.
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