A Quote by James Vincent McMorrow
When I started out making music I thought it was about thrills and adding layers, but I realized I want to focus on saying the most with the least.
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If you're in music, you're in music, and if you're in music you just want to keep making records and playing. That's what it's about, isn't it? At least, that's what I always thought it was about, anyway.
It's never been about what we want others to see: it's about what we want to see; it's about what we want to do. We only have a career because of our fans, but we have to keep making music for the reason we started making music.
The thought about changing my genre of music does cross my mind, but then I remember why I started making music in the first place or why people started liking my kind of music.
When I started making my own music, I was more about recreating what I was hearing. I noticed that I had some control over what I was saying, and the effects that it's going to have on people. I wanted to focus more on the positive side of things, which are more in tune with my morals and ethics.
The doctrine of evolution implies the passage from the most organised to the least organised, or, in other terms, from the most general to the most special. Roughly, we say that there is a gradual 'adding on' of the more and more special, a continual adding on of new organisations. But this 'adding on' is at the same time a 'keeping down'. The higher nervous arrangements evolved out of the lower keep down those lower, just as a government evolved out of a nation controls as well as directs that nation.
I started directing chamber orchestras, then adding bigger pieces, adding winds, adding small symphonies. I've always loved chamber music, and I've done a lot.
When Jack Black and I started Tenacious D, there were about two seconds in the beginning when we thought maybe we'd have a go at serious music. But we quickly abandoned that when we realized that everything we did tended to come out funny.
The way I like to think about it is, even though I started music early - I started in classical music - it wasn't until I discovered jazz that I really fell in love with music and realized this was what I wanted to do for a living.
I had very good LSD, but the problem was - I tried making a film, or doing some filming, when I was on LSD, and it's impossible. I couldn't focus. I tried focusing, but when I looked through the lens, I'd see all different layers of focus, and I couldn't find which was the real one behind the camera. And I just thought, this does not work, and I never tried that again.
I wish I could free myself from making music that has a dancefloor-function, or at least try to focus more on all the other elements in music.
There's a time and place for everything, and my focus is music. So that's what I prefer to spend most of my time doing, and not talk about making music.
I wrote so much about fandom and participation for NPR that I eventually realized my most fertile way of participating in music is to actually play it, at least in a way that made the most sense to me.
I didn't even want to start acting when I started. At least, I never thought about it.
I wouldn't say making psychedelic music is my focus. That's not the modus operandi for Tame Impala. It's about making music that moves people.
I started to music when I was about 19 years old. Most people that do music, they get training, or they develop themselves before they let their music out. For myself, I was actually developing myself and putting my music out at the same time.
Everything in Louisiana is about layers. There are layers of race, layers of class, layers of survival, layers of death, and layers of rebirth. To live with these layers is to be a true Louisianian. This state has a depth that is simultaneously beyond words and yet as natural as breathing. How can a place be both other-worldly and completely pedestrian is beyond me; however, Louisiana manages to do it. Louisiana is spooky that way.
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