A Quote by James Murphy
Making 'Sound of Silver' was very emotional at times, where I just hated making that record.
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Titles are relatively arbitrary to me; they take on meanings that aren't really my meanings. 'Sound Of Silver' was just, like, I made the studio silver, and I wanted the record to sound 'more silver.'
When you're making a record - and I've never said this to anybody, but it's true - when you're making a record, and you go, 'Man, this might win a Grammy!' you feel that level of confidence when you're making a record.
The 'Manipulator' record was really fun to do. It was far less heavy and draining, in an emotional way. It was just like making a rock record. It was just really fun.
My favorite record of all time is Tom Petty's 'Wildflowers.' I hold it as the standard - in terms of sonics, sequencing, and songs. It shows that making a complete record is important, rather than just making a single.
Without trying to get too self-indulgent, there's a fine line between making something that's soundtracky and cinematic, or making it sound like a bad 70s prog-rock record.
I became really aware that when you're making a movie, you're making it three times. You're making it when you're writing it. You're making it when you're shooting it. And then you're remaking it again when you're editing it.
I think something that is never really spoken about is the learning process of making records - I made my first record at twenty one and learned so much about record making from that before making 'Bomb In A Birdcage' a couple of years later.
I don't care if you're purple. If you're making a catch or going to go down, you could be silver. I couldn't care less, if you're making those plays for the team. If you're a selfless player, nobody pays attention to that at all. White, black, silver, pink, it doesn't matter to me.
There have been times when I've felt inappropriately emotional. I remember making 'The Most Hated Family in America' about the Westboro Baptist Church, and being on the way to a funeral of a U.S. soldier with the Phelps family; they were going to picket the funeral.
I'm very lazy when it comes to making the original sound. I don't go through amplifiers and different compressors and signal parts. I just grab something, whether its an old guitar or a children's toy that happens to be lying around, and record it straight into the computer.
As far as we're concerned, we're always Sonic Youth, and we're always making a Sonic Youth record. We just see it so much more as a continuum than a periodic thing. We're just in the studio making the next record, and we don't relate it to anything other than what's going on at the moment.
I love making each record sound different.
I think I gave indications early on that mine wasn't just going to be a commercial, er, career. If that were the case, then the first record would have been 10 versions of 'Loser.' I always thought it would be interesting if there was no such thing as gold and platinum records, or record deals, and people were just making music. What would the music sound like?
I'm not interested in making an album that's just dark and pummelling for an hour, nor am I interested in making a beatless record from start to finish.
I think, as human beings, we all have a fundamental mode, a basic way of relating to the rest of reality, and for me, it's always instinctively been about sound making and trying to extract information, grammar, meaning from sound making. That's been my way of navigating reality that's very personal; a painter might say they make marks or look.
I feel like Turbo helped me grow. It's the way we just lock in. His mind is set to where he'll start making beats to my flow and my sound. He's not an engineer, but he knows how to record.
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