A Quote by Flume

I'm not thinking about the next record really yet. I kind of want to do a bunch of stuff with Jonathan Zawada, the guy who did the album art. I'd like to do some crazy art installations and design some weird synthesizers and work with other people and make some fun stuff for a bit. Maybe tap into virtual reality stuff or maybe write another record.
I'd like to do some crazy art installations and design some weird synthesizers and work with other people and make some fun stuff for a bit. Maybe tap into virtual reality stuff or maybe write another record... We'll see.
I haven't been walking around for years with some burning desire to do a solo record. If I had, maybe I'd have made a record that was experimental. Usually, the idea of a solo record is to get some weird stuff out of your system, but I don't think like that. I wasn't interested in making something that was a hard listen - maybe I'll get around to that some other time. I wanted it to sound effortless, not like I was trying to reinvent the wheel.
Maybe we'll do some fun stuff here and there, but I don't want to record any more songs.
I love dressing up. I like going out and buying some crazy stuff. I like stuff that's new, innovative and weird. I just pick out stuff that is unique and anything that I'm really diggin'. I don't really care if it's kind of out there. That's what I'm about. I like picking stuff that is really different.
People want to be the first with the record, they want to be the first to know which songs are on the record, all that kind of stuff. So I like to just stall them a bit. Personally, I love the idea of an album that's completely new, that no one's heard any free downloads, any pre-record releases, all that kind of stuff, and nothing's been played on the radio. Totally virgin, you know, a sealed record. That's my ideal, but it's very hard to get anybody else to agree to do that.
The Replacements are the foundation for a lot of what came after in alternative and college rock. Let It Be is their best record and has the most diverse collection of songs. Some pop stuff, some heavy stuff, and some real moments of beauty like 'Sixteen Blue' and 'Androgynous.' It's a record I always go back to.
Maybe some people that only listen to electronic music will pick up my record and get turned on to some of the story songs, some of the more country-type stuff.
I like to go on stage with a variety, with some stuff that's been around for a handful of years, some stuff from the last year, some stuff is from last week, and some stuff is brand spanking new. Those are the moments that excite me - when I'm coming up to a brand new bit. The more virgin the snow, the more fun it is to run on.
The only thing I collect is art. I collect it because I like looking at it. A lot of it is really personal stuff that my friends have made, paintings that my husband's mother made, and things that I bought. I buy abstract art on eBay, and I buy some outsider art on eBay, or what is called folk art, I buy a lot of. I have a lot of professional art work as well as more stuff my friends' kids make. To have a wall of art to look at, I feel really surrounded by love, because so much of the work is related to my friendships.
I feel less and less like that every year, and I guess maybe even more so with every new record that I put out. I just think, as the years go by, it's harder and harder to really find a reason to be annoyed that you made something that people want to continuously talk about. Certainly there are contexts in which the record can be discussed which will get me on the defensive and make me want to put some kind of calibration or some kind of context on what the record means in relation to my career as a whole.
There's only so much stuff you can buy. I have to retail the stuff. Stuff that's really really weird - it's cool, but who are you going to sell it to? I do collect some stuff. In the end, I have to run a business.
Some songs are just going to be acoustic with just maybe some light background stuff going on and maybe violin or something like that. Or sax - I mean, I'm definitely having some sax. That's just what I love. It's going to be jazz-rock stuff. That's what I'm aiming for.
I really hope that I can be as good as some people think I can be. But I may never work again... and that's the reality of the film industry. So, it's nice but I wouldn't want to go into something feeing like I needed to prove that I was good enough to be there. Maybe in some ways, it makes me think: "Do you know what? Some people think I'm alright, so maybe I should go into a job thinking I'm not rubbish." But I don't really think about it.
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."
Some of my favourite record and album covers and stuff have all been the singer, and they create a character, and they dress up a little bit.
Education means teaching kids how to do stuff and how to think about stuff. Education is a pretty simple concept with a very clear way to measure results: you give some kind of an exam - maybe it's one of those standardized tests all kids hate, maybe it's some kind of essay, but whatever it is, it'll measure the results, and the kids will hate it.
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