A Quote by Jens Lekman

Making albums is a very lonely process sometimes. Sitting around working on songs, feeling the pressure. — © Jens Lekman
Making albums is a very lonely process sometimes. Sitting around working on songs, feeling the pressure.
When you have a reputation for making not only good songs but great albums, that in itself creates added artistic pressure. But, at the end of the day, I guess that pressure is something I welcome.
Yes, it was difficult - making 'The Act of Killing' in particular was a very lonely process. No one really believed in it until very close to the end. But it was also a sanctuary. I was working in obscurity.
The albums I did around that time probably wouldn't have been the same without Ecstacy. The first three Soft Cell albums... were all really albums that were just done around Ecstacy and the whole E feeling.
Truth is, you make albums, and some of those songs are hits, and some of the greatest hits albums have songs that weren't hits. You have a career, the reason why we're still around 10 years is that we do have successful songs.
We're very historically tried and true when it comes to our albums. We pick the best songs; we get rid of the songs we feel don't fit on the album, and we don't work on remixing or remastering albums.
We're all lonely for something we don't know we're lonely for. How else to explain the curious feeling that goes around feeling like missing somebody we've never even met?
I find the fact that so few people buy albums to be strangely emancipating. There's absolutely no reason for 99% of musicians making albums to think about actually selling albums. So as a musician you can just make an album for the love of making albums.
It’s a very American illness, the idea of giving yourself away entirely to the idea of working in order to achieve some sort of brass ring that usually involves people feeling some way about you – I mean, people wonder why we walk around feeling alienated and lonely and stressed out.
First of all, I've been having a wonderful run of luck with cover albums, songs I didn't write. I had five pop cover albums and two Christmas albums, and they were all very successful.
I sit and feel lonely. Sitting and feeling lonely is something I am a spectacular success at. I can do it for hours. Everyone is good at something.
The fact of having this very new context, this unheard-of way of working, for me was very pleasant. I didn't feel that I was working, that I had any kind of burden to wear, to carry. I really was very happy and very lighthearted during the whole process of making the film [Certified Copy], of shooting it.
It's a very different feeling just sitting around the side, playing piano, and dancing around as opposed to standing in front and singing.
There are no leftover Tool songs because of the process it takes to compose our songs - the way we hash it out in a room with all three or four of us, that there's tons of riffs and jams and things. But there's no put-together songs that are sitting in the eaves.
I had a very blessed journey with the upbringing I had. When you're working on sets as a stuntman, you have a firsthand account of the dynamics between actors and directors, because you're working hand in hand with them. You're not sitting outside the process watching. You become part of the process. You also see your tradecraft and see how movies are made.
Anything is better than sitting around waiting for the right movie to come along. I lose my edge when I'm sitting around the pool not working.
I'm dead serious about my craft and just really serious about making music in itself. I take pride in making songs and albums where no two songs sound alike. That's the challenge and that's what it's all about, to keep it original and fresh and funky.
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