A Quote by Jonathan Davis
It is quite annoying that we have to change the sound we invented just to avoid sounding like people who simply copy us, but... it is flattering and of course challenging.
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It's quite fun to mess with the human voice. It's quite special in the sense that the voice is the #1 instrument that we can connect with; it doesn't sound too alien. I think that's the key is to find the line between sounding human and sounding robotic. That's an area that I like to explore a lot.
Some people giving orders and others obeying them: this is the essence of servitude. Of course, as Hospers smugly observes, "one can at least change jobs," but you can't avoid having a job - just as under statism one can at least change nationalities but you can't avoid subjection to one nation-state or another. But freedom means more than the right to change masters.
When we sit in meditation and hear a sound, we think, 'Oh, that sound's bothering me.' If we see it like this, we suffer. But if we investigate a little deeper, we see that the sound is simply sound. If we understand like this, then there's nothing more to it. We leave it be. The sound is just sound, why should you go and grab it? You see that actually it was you who went out and disturbed the sound.
Some people rehearse to a point where they're robotic, and they sound like they have memorized their presentation and didn't take it to the next level. Going from sounding memorized and canned to sounding natural is a lot of work.
I always tell people that I'll sound exactly like Alanis Morissette after I've had more boyfriends. I'll be just as anguished-sounding.
I would say I was challenging the system quite. But I like to think that if the choices I make are slightly unexpected or challenging to people, then that is good. We are definitely three fairly like-minded people in terms of what we value in scripts and in storytelling.
Not to sound egomaniac or anything, but just to get under people's skin like that, and for them to believe in you and believe strongly enough to write... it's flattering and it helps you during the day.
I think working with our producer Dan Cornith, he was in the same boat with us. We tracked in rooms in a huge warehouse just to give it a try. We didn't know what it was going to sound like - it might have sounded horrible, but it ended up sounding really good, just trying new things. It was a lot of fun.
You see people you identify with, and you take pieces of people you like and shape who you are. Like, I sound just like my dad. But that's literally my vocal chords. I can't sound like anything else... I sound like him, but I act like myself.
We constantly try to change and stay fresh. We've done a lot of different styles of music: R&B, hip-hop, rock, orchestral. So when people hear us doing a rock'n'roll record or a movie like "Dreamgirls," they'll say, "Hey, that doesn't sound like an Underdogs sound."
I suppose Spotify is a good thing. The ads are quite annoying, but a lot of people seem to like it and use it. I don't myself, but it seems like a good idea, and the labels are getting a huge amount of money off it, but the artists aren't, so that must be good for them... but not us.
Folk music - and what people are now perceiving as being folk music - is music that's quite close to the ground. The songs sound quite old, even if they're new. They sound like they've been sung by different people for years.
What we hear now is great-sounding records with great-sounding grooves and loops. And the sound of these records is irresistible, but the craft of songwriting is just about over. That's why, whenever I get an opportunity to do an album full of standards, I jump at it because I miss it.
Poetry can change the world, just like any art can change the world, by changing consciousness. Of course this was the great slogan of the nineteen sixites hippies’ revolution—enlarge the area of consciousness, which quite often was done by psychedelic means.
I'm not sure I'm going to be that type of artist but I do love cultural icons. Like Solange has been really great at that. Releasing her album end of last year and being really strong in their sound, bands like Little Dragon, artists like James Blake. You know their music when you hear them. They have a really particular sound and it's really cultural and people copy that sound. You hear it in other songs and you're like 'That's a James Blake tune'.
Part of the success of This American Life, I think, is due to the fact that none of us sound like we should be on the radio. We don't sound professional; we sound like people you would know.
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