A Quote by Feist
The group-effort sound in recording of Sea Lion is like, you really hear all the people in the room and hear them interlocking. Theres a real freight-train energy of all these people at the same time playing.
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The group-effort sound in recording of 'Sea Lion' is like, you really hear all the people in the room and hear them interlocking. There's a real freight-train energy of all these people at the same time playing.
I'm not sure I'm going to be that type of artist but I do love cultural icons. Like Solange has been really great at that. Releasing her album end of last year and being really strong in their sound, bands like Little Dragon, artists like James Blake. You know their music when you hear them. They have a really particular sound and it's really cultural and people copy that sound. You hear it in other songs and you're like 'That's a James Blake tune'.
I love playing the Hard Rocks; they've got a great stage, great lighting, great sound, and not so humongous; its more intimate, so we love playing theaters and clubs where the audience has a really good chance to see and hear the group and where the acoustics are good. I like it when we can hear what we're doing.
Playing a room, it's a real dictator-type situation - you can really move the crowd the way you want to. In a festival, there's a sea of people, and it's harder to lock in on any one group.
The people who go get an LL album want to hear LL. They don't want to hear LL trying to sound like DMX or whoever else is out there. That's not what they want to hear from me, because if they want to hear that they can go get the real thing.
I am like a freight train. Working on the details, twisting them and playing with them over the years, but always staying on the same track.
It's always a blast playing the new stuff. But I feel like songs, in a way, are never finished. You get to a point where you're comfortable enough to put a stamp on it and send it out there, but even after recording it, when you're playing it live, you hear different harmonies, you hear different notes, you hear different tempos or peaks and valleys in the song.
I just want people to hear the music the way it's suppose to sound, the way we meant for them to hear it. You sit in the studio all this time and make the music, tweak it, try to get it perfect. They should be able to hear it that way.
I think as long as people are around and can hear a record and hear people like Lester Young on a recording, there will always be a great inspiration for somebody to try to create jazz.
Usually when you're playing with other people in not such a reverberant room, you have to be quick on your feet and think about stuff really quickly. But inside the cistern, it was almost like I was at home on my computer arranging and taking time thinking about the next step, the next note. Instead, the room was my collaborator. I could hear the note and sit there and think. I could be arranging as I was going in real time, which was fascinating.
When I listen to Airplanes record, it takes me back. I remember a lot of my thought processes when I was 20 or 21, writing those songs and recording that record. I wonder what I was thinking when I was trying to say a particular thing. I hear some of the weird little nuances in the recording; I can hear what the room sounded like. I remember what it smelled like. I can remember sitting up in guitarist Chris Walla's bedroom and for the first time in my life having this realization like, "Maybe I can do this. Maybe I can make music that in some capacity people will enjoy and come see me play."
Dying should come easy: like a freight train you don't hear when your back is turned.
I like revisiting my early work, and people like to hear it. I don't make people suffer through any experimentation or new material. When I go see an artist, I want to hear the songs that drew me to them, so I do the same.
You hear the word 'fake' thrown around wrestling, but it doesn't get more real when you hear the sound of 20,000 people coming unglued.
I hear a lot of people saying my stuff sounds the same. When you're in my position, people come to you to give them the same sound in a different type of way.
When you hear kids singing your songs it just validates them, they sound like real songs when you hear them back, it's quite refreshing. Like songs that could have been around for a hundred years.
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