A Quote by Jamie xx
I like the contrast in making something that sounds sunny but also has an element of melancholy to it.
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I love that tension between machine sounds and organic sounds, and also the contrast between abrasive sounds and soft sounds.
Fifty years ago, teachers said their top discipline problems were talking, chewing gum, making noise, and running in the halls. The current list, by contrast, sounds like a cross between a rap sheet and the seven deadly sins.
When I'm making the music, the songs that I get most excited about definitely make me feel good, but often, it's a really good feeling combined with some kind of melancholy element.
To keep people interested, your presentation needs to have contrast. As humans we process contrast. We are assessing "what's the same," "what's different," "what's like me," "what's not like me." Humans stay interested if they can process contrast. Varying types of contrast can be used. With content, you can contrast between what is and what could be or between your perspective and alternative perspectives.
It all comes down to what you truly love doing, and what I love doing is overdubbing and making new sounds out of things that are sometimes quite ordinary on their own, but when you put them together, they make something new--or something that sounds new. Just discovering things like that musically is a pleasure.
I got to a happier point and then started making a record [Wild Things]. I don't mind at all that it sounds like LA, because LA was integral to me feeling better. Seeing the sunshine and all that other sorts of stuff was definitely a huge part in why the album sounds like it sounds.
Having a very serious thematic element in the lyrics and then juxtaposing with something really triumphant and just a big beat to dance to is a nice contrast to having a dark message.
Happiness ain't a thing in itself -it's only a contrast with something that ain't pleasant. And so, as soon as the novelty is over and the force of the contrast dulled, it ain't happiness any longer, and you have to get something fresh.
People are bringing a lot more of that funk element into their music, you know, with Bruno Mars and Mark Ronson - that's one that you never thought you would hear something like that on the radio again 'cause it just sounds so much like the Back Bay and what they were doing with music back then.
I think perhaps it is a generational thing. I talk to younger people and they say, Where is this melancholy city you talk about My Istanbul is a sunny place.
There is something sinister, something quite biographical about what I do - but that part is for me. It's my personal business. I think there is a lot of romance, melancholy. There's a sadness to it, but there's romance in sadness. I suppose I am a very melancholy person.
People think making jokes about something is just going to cause trouble. But actually, not making jokes about something is a type - and this sounds very pretentious - of apartheid.
This 'Making Mirrors' album is far more personal, even if there's a character element to the sounds I'm working with. Every song on this album I stand behind; I feel like I have a close relationship with them. There are older songs where I can feel myself writing a story, so this is the first album where I'm proud of every lyric.'
The detail adds an element of unexpected something. All fiction is false; what makes it convincing is that it runs alongside the truth. The real world has lots of incidental details, so a painting also has to have that element of imperfection and irregularity, those incidental details.
Live shows are where I can just go off, I do the most. I can recreate songs live and take one element and build on that that for like 40 minutes and I like seeing people's faces when I'm making something live.
I feel like these sounds are the ultimate kind of free sounds, the ultimate public domain sounds. And I feel like people put them in completely different contexts, and they mean something different to everybody.
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