When I started The Shins, it really was just me, alone, but it was still The Shins. I was totally recording stuff and writing songs as The Shins and all of that. So the beginning inception of the whole thing was some sort of a lie, I guess.
I really wanted to focus on my songwriting, or songwriting with other people. I wanted to go learn from other people who were really good at the classic, more traditional idea of songwriting.
I think you can't really beat Bob Marley, especially the stuff he was doing with Lee Perry. Just that kind of clubby and dark and crazy stuff, even with the Wailers... Some of the songwriting was phenomenal.
'Gatekeeper' was sort of my first attempt to put a little bit of a frame and boundaries around songwriting, and try to figure out a way to approach it that had a sort of end result in mind. I haven't written many like that.
Gatekeeper was sort of my first attempt to put a little bit of a frame and boundaries around songwriting, and try to figure out a way to approach it that had a sort of end result in mind. I havent written many like that.
The Shins is, in a way, a recording project that turned into a live band. So I don't really keep myself beholden to any rules when I'm in the studio for Shins. I just gotta get it done as best I can.
There is pressure that comes with everything being a big deal. I remember thinking, 'I need to survive the Shins. I don't know what I'm going to do to make a living otherwise, but I really don't want to do the Shins right now.'
I'm just gonna be doing stuff that I really enjoy doing. I'm not gonna attempt to be current in any way other than the fact that people will like what I'm doing currently.
I'm doing this record called 'Epicloud.' Over the course of the full record, there's sort of new agey stuff, jazzy stuff, really heavy stuff. We basically cover the gamut.
My songwriting process, and maybe loads of other people's, is just this sort of smashing together of emotions and stuff to make some music. It's kind of simple and really complex at the same time and, as you can see, incredibly hard to explain.
I sort of have various sort of theories when people ask me about songwriting because it is a mystery. You don't really know. Sometimes you can do it and sometimes you can't. It's really peculiar.
I don't think we ever really think about it when we're doing it, because if you sort of go in with a plan of attack, it tends to take away the natural rhythm of songwriting.
I grew up watching the films of 'Carousel' and 'Oklahoma' and 'The Music Man' and 'My Fair Lady' - all the classic musicals of that golden era, The sort of more modern musical theater, or what was modern when I was at a ripe teenage age, I wasn't really listening to that stuff. I was really more raised on the classics.
I've always sort of felt like what the Shins is, I guess, is a vehicle for my writing.
My songwriting is so influenced by orchestrated music, dramatic, super glam rock-y stuff. Two of my biggest influences in songwriting were Elton John and Freddie Mercury.
When I was in high school, my parents had this power over me - if I ever lied or got caught doing something that I shouldn't be doing, then I would no longer be able to go to LA and continue to pursue the acting thing. So that was this sort of looming thing they could had over me that just sort of really kept me in check throughout those formative years where you would typically be lying and doing bad stuff.