A Quote by Hildur Gudnadottir
Singing is something that I have done all my life, but what I did on my first two records was to hide the vocals. They're there to thicken the web of the cello.
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The vocals are the very last thing I do. So, it's kinda the opposite: with country. it's singing and guitar first, but with rock, I worry about the riff and music, vocals last.
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.
I played tennis. My older brother, Joseph, was a cello player, and I played the cello, but he was better than me at the cello, and he was also a better tennis player than me, so I was always like, 'I wish there was something that only I did!'
I did a capella for a year at boarding school and then I stopped because at Yale, I think they really focus more on singing than having a beat behind them. So I just did my cello thing.
The whole first two-thirds of the I Just Can't Stop Loving You song is just he and I. He's singing lead and I'm doing all the harmonies and we're both singing all the background. We're singing all the choruses until the choir comes in. We were the first two-thirds of the song.
When I first prepared this particular talk... I realized that my usual approach is usually critical. That is, a lot of the things that I do, that most people do, are because they hate something somebody else has done, or they hate that something hasn't been done. And I realized that informed criticism has completely been done in by the web. Because the web has produced so much uninformed criticism. It's kind of a Gresham's Law-bad money drives the good money out of circulation. Bad criticism drives good criticism out of circulation. You just can't criticize anything.
The records I make, I'm there from the writing of the first note through the click tracks to the miking of the drums to the editing of everything to the production to the vocals to the artwork.
We wanted to make a powerful cello sound in order to show to the world the possibilities of the cello and to use it in a different way than the classical way they are used to. We wanted to play something exciting, something crazy, something to draw younger generations to this great instrument.
The Internet was done so well that most people think of it as a natural resource like the Pacific Ocean, rather than something that was man-made. When was the last time a technology with a scale like that was so error-free? The Web, in comparison, is a joke. The Web was done by amateurs.
I usually like to hide my vocals behind the music. I don't like to hide them consciously, but I have a tendency to prefer the vocal at the same level as everything else and put lots of reverb on it.
It's fun singing with other people who are really good singers. There's something kind of poignant about braiding a couple vocals.
My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.
It started when I was eight years old. I first heard the cello on the radio, and I loved the sound. It was such a magical, beautiful sound. I dedicated my entire childhood to cello, practising like crazy.
It's no longer necessary to slave over the vocals. I don't sing the lyrics until I write them, and singing is the very last thing I do. I record the entire track, and then I worry about lyrics and vocals. The music will suggest where the words are going to a certain extent.
It's good to listen to lots of different stuff, just whatever you like. The first two records I ever bought were Alice Cooper, Killer and Jethro Tull, Aqualung. That's two weird records to begin with, but I think they hold up well.
The first thing people look at with Four Seasons records is the vocals. But for me, the drum fills and rhythms are as much a part of it as anything. They're the base on which the harmonies were built.
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