A Quote by Jim Root
There's a lot for us to achieve and a lot more music to explore. I'm not saying we want to start doing experimental prog or something, where it turns into elevator music after a few records, but I don't think we've even scratched the surface.
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I'm a big fan of a lot of prog music. As a record collector as well, I won't throw anybody or any band under the bus, but a lot of the records are fun to collect, are not necessarily very good. There are a lot of prog bands out there that it's a really cool record, but it's, like, not really there.
People think it is all about country music, and I know a lot of country music has come out of there, but like Blonde on Blonde by Bob Dillon was recorded there. A lot of great records; R&B records, jazz records. It's a lot of great players and great studios.
It's great to see Latino music coming to the mainstream, but at the same time, there are also a lot more styles to explore: African music, Indian music, Chinese music.
I think it is the weak and the young and the minorities that you need to look after to get a healthy creative environment - to get a lot of choices, a lot of different styles of music, a lot experimental stuff that everyone else feeds off.
We live in an age of music for people who don't like music. The record industry discovered some time ago that there aren't that many people who actually like music. For a lot of people, music's annoying, or at the very least they don't need it. They discovered if they could sell music to a lot of those people, they could sell a lot more records.
I did not like that name "world music" in the beginning. I think that African music must get more respect than to be put in a ghetto like that. We have something to give to others. When you look to how African music is built, when you understand this kind of music, you can understand that a lot of all this modern music that you are hearing in the world has similarities to African music. It's like the origin of a lot of kinds of music.
I think movies say a lot [about real life], even more than theater. It says a lot about the invisible, that movies are so fascinating. The camera lens is like a microscope that goes beyond the surface. It's like you're exploring a secret, so you explore the director's secret, you explore the actor's secret, and therefore you explore the universe's secrets.
I believe that the greatest music is storytelling anyway, in a heightened medium. So I write a lot of music, and I play a lot with my guitar, I still sing a lot, but now I'm more personal about it than public, in a way. I think there will be a time where I'd like to bring the singing back into some of my performances. It all depends if the material's right, if the story's right, if it's my kind of taste in music, as well. It means so much to me. We all know how affective music can be, I just want to make sure when I do it, I'm doing it because I actually feel it and I care about it.
A lot of Utah State when I was there, there was a lot of California guys. So, you get a lot of Cali music, you got a lot of dance music, I think the Jerk was popular back then. It was a lot of the music that you can dance to with your teammates. A lot of hip-hop, rap, R&B, it was really fun. It was live in there.
I was interested in a whole range of music that I used to play, popular music -- particularly American music -- that I heard a lot of when I was a teenager," "I think at a certain point it dawned on me that myself playing this music wasn't very convincing. It was more convincing when we played music that came from our own stock of tradition. ... I certainly feel a lot more comfortable playing so-called Celtic music.
I don't think a lot of the times Foxygen songs require much editing. Our band rarely records a song and go, "God that sucked. We shouldn't show that to people." We're pretty confident in the way we make music, that rarely falters. We've just been doing it for so long, it's like a science between us. There's not a lot of times where we cut something or decide to not record it.
In the last few years I've been listening to jazz more than anything else. I listen to a lot of world music and experimental here and there.
I work with a lot of music programs and there's a steep learning curve to a lot of them. You can really find yourself trying to figure out how to do things, instead of making music. Now I have another tool with the Surface music kit.
Music is very nebulous, and you can conjure up a lot of moods with music. But lyrics - they're a lot more tangible. They're much more specific. And you want to say something meaningful and creative and artistic and that tells a story and that takes people someplace else.
The music's rehearsed a lot. All people think about is, they think, in rock 'n' roll, they get the music off right and they think it's okay standing, looking macho. Well, it's not. That's boring. If you want to be a performer you've got to do a lot more work than that.
I think in the old music, everything was so competitive. It was all about - very selfish in a lot of ways. The label sort of capitalized on that desperation and that competition. In the new music landscape, with is the democratization of the internet and music in general, I think it can be a lot more collaborative. People, instead of competing, they can actually support each other, in music.
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