A Quote by Erick Morillo

I feel that in the underground world, there's not enough vocals out there. — © Erick Morillo
I feel that in the underground world, there's not enough vocals out there.
My whole goal in this industry nowadays is to keep doing the underground stuff, but to be able to add vocals that are sexy and underground.
The last time I put out 'Raw,' that boosted me up in the underground to one of the top underground artists who was making moves and touring around the world.
A lot of people, when they first hear about the Underground Railroad, think it really is a subway or a locomotive. When they find out it's not, they feel a little disappointed. So I thought, What if it was a literal underground train network traveling from state to state, with each state it goes through representing a different opportunity or danger?
I don't think my vocals demand effects. I like reverb to a certain extent, but I don't want to hide my voice. I like stripped-down vocals, but I also like crazy, powerful, doubled vocals like in dance or electronic music.
The underground went really underground. Grand Funk, and all these people man are the moderate's choice of music. Underground is Yoko Ono, The Black Poets. These people scare the hell out of most freaks. They laugh at Yoko Ono, but it's the whole cliché.
If you're not drinking enough water, or you're not eating enough vegetables, or you're not working out enough, or you're not getting your toxins out, I feel like it always reflects.
In many ways, my entire graphic novel career was a long diversion. Originally, all I wanted to do was to be an underground cartoonist and maybe bring out a groovy underground mag.
Something on mainstream radio is very in your face with the vocals. I tried that, and it just doesn't feel like Washed Out. It's got to have that haziness to it.
I didn't really get into underground comics, though I've liked some of what I've seen. Dame Darcy was very impressive to meet, really talented. In general, I've always been more interested in searching out music, so I think I miss out on a lot of underground art.
There's enough food in this world. There's enough housing in this world. There's enough shelter in this world. There's enough clothing in this world. There's enough teachers, there's enough universities for everybody's needs to be met, and the reasons they aren't is not because of lack of resources. It's because of distribution, and that's the politics of hate, which is why this is a movement against that. It's a politics of love.
Underground. Which I hate. Like mines and tunnels and 13. Underground, where I dread dying, which is stupid because even if I die aboveground, the next thing they'll do is bury me underground anyway.
Back in the day, I was afraid to speak out. When I get music behind me, it feels like I can soothe the hurt and put it in vocals and say it to the room the way I feel it.
Later on, when I signed with Sony, we wanted to re-release 'Fade' as 'Faded' with a brand new mix and with vocals by Iselin Solheim. I think Iselin was the first person who sung demo vocals for 'Faded.' And it worked out great! The way I got in touch with Iselin was through a guy that I work with in the studio.
In the studio you can auto tune vocals, and with drums, you can put them on a grid and make them perfect. I hate that sound. When someone hands me a record and the drums are perfectly gridded and the vocals are perfectly auto tuned, I throw it out the window. I have no interest in rock music being like that.
It's easy to love yourself when you feel good enough, when you feel special enough, when you're loved enough, when you have enough money, and you're appreciated.
It's a particular skill, I think, doing backing vocals. You're blending the vocals between the gaps, between the music.
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