A Quote by Josh Klinghoffer
I like really sparse electronics, lush arrangements, and interesting chord structures.
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I grew up with a piano, and my aunt taught me chords. I played with bands in high school and I could do like, C chord, G chord, D chord; really simple, rhythm piano.
We still listen to the original lush arrangements with the orchestras.
Even if chords are simple, they should rub. They should have dissonances in them. I've always used a lot of alternate bass lines, suspensions, widely spaced voicings. Dfferent textures to get very warm chords. Sometimes you're setting up strange chords by placing a chord in front of it that's going to set it off like a diamond in a gold band. It's not just finding interesting chords, it's how you sequence them, like stringing together pearls on a string. ... Interesting chords will compel interesting melodies. It's very hard to write a boring melody to an interesting chord sequence.
If we are ever to cross the 100-nano barrier in electronics, we need to develop nano structures that let electrons move through, as they do through wires and semiconductors. And these structures must survive in the real world of air, water, boiling temperatures.
There was a time when hip-hop was its own musical principle, aside from sampling. Like the entire Wild Style break is instrumental. Kurtis Blow's earliest stuff was studio musicians playing. Whodini had a real clear sound, things like "five minutes of funk," stuff that you could write really beautiful, lush string and horn arrangements around, stuff that was just music.
I like chords that are very lush with all the lush parts taken out.
I'm kind of a geek when it comes to talking about chord structures or melody, so I always loved in-depth conversations with musicians about things. I also enjoy when a fan can just put something on, and they really know nothing about music other than they like it and it touches them in some way.
Domestic power structures are shaped in good part by global arrangements.
I was pillaging a lot of music that had nothing to do with guitar playing, using a lot of strange tunings and voicings and chord structures that aren't really that natural to the guitar; I ended up developing a harmonic palette that's not particularly natural to the guitar because I was always trying to make my guitar sound like something else.
Then I began to play. Variations on a G major chord, the most wonderful chord known to mankind, infinitely happy. I could live inside a G major chord, with Grace, if she was willing. Everything uncomplicated and good about me could be summed up by that chord.
The miniaturization of electronics, which ultimately was driven by the marketplace, was started by NASA, because it costs money to get something into orbit. So you want to trim your electronics, miniaturize your electronics, miniaturize your satellites.
I'd like to see a quiet album and go back to being sparse again, because this album is such a big album, ... I'd like to go back to being as sparse as we possibly can.
I could not do what I do, and teach a class, and never miss a deadline, never be late for anything if I was a lush, OK? I would really love to read a piece that said, 'He is not a lush.' That would be fabulous, it would be a first, I could show it to people and say, 'Look!'
When we do reggae, it's normally a one-chord or a two-chord, or whatever it is. With Sting, there'll be chord changes, key changes.
I think the B-52's were a huge influence on Sleater-Kinney. The way that there'd be a really interesting guitar line that'd be really melodic and kind of simplistic, I really related to that. The sense of melody is really intense and fun. It's not just traditional song structures, but it's very melodic and draws you in, in kind of an immediate way.
I really got into psych because everything has a really good groove to it and it's nicely spaced out, but ultimately they are just cool pop songs with a little something else that makes them special and unique. They are interesting and have another dimension to them besides a three chord change.
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