A Quote by Kate Bush
50 Words of Snow just didn't seem to have the complications that quite a lot of albums have. It felt to me like it had this very good flow of energy.
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I felt I had nothing more to say. Everything would have had to be a replay of the previous two or three albums, and that decided me to stop. What bothered me most was not playing guitar at all anymore. I felt I had no more contact with the instrument. It was just a piece of wood to me. I even thought music had definitely left me. After fourteen albums, there may be an overload phase, a sort of lassitude.
The thing with 50 Words of Snow is that it was literally back-to-back from Director's Cut [also released in 2011]. It was more or less that I got to make two albums in one hit. I was already in this space in my mind to be writing and making an album.
When I turned 50, I said to myself, well, if this is what it's like turning 50, I can't wait to turn 60 because I still felt very, very mentally and physically good, outside my back surgery.
I read once that the ancient Egyptians had fifty words for sand & the Eskimos had a hundred words for snow. I wish I had a thousand words for love, but all that comes to mind is the way you move against me while you sleep & there are no words for that.
What it felt to me was like the dissolution of my idea of myself. I felt like separateness evaporated. I felt this tremendous sense of oneness. I'm quite an erratic thinker, quite an adrenalized person, but through meditation, I found this beautiful serenity and selfless connection. My tendency towards selfishness, I felt that kind of exposed as a superficial and pointless perspective to have. I felt very relaxed, a sense of oneness. I felt love.
We just did a bunch of songs, and there was a lot of enthusiasm for the songs that we made. We didn't feel like we had to do Miike Snow. We just did it because, I mean, I guess we felt like it would be a bit of a shame to leave it where we left it.
But I felt like Pablo Escobar felt like he was an honorable businessman. And when he killed people, I think he felt he did it because they were honorable. That they were liars and were trying to cheat him. I don't think he had a lot of respect for the politicians in Columbia at the time, so he had quite a lot of fun killing them.
I like it when people have good flow, but I also like it when people actually say stuff. Because sometimes that's a very good distraction, like, to have impeccable flow, but you're saying a lot without saying anything.
I have to say I find it totally astounding that my albums do as well as they do. It's quite extraordinary, and it's actually very touching for me for the albums to be received with such warmth.
You need good energy and you need to be fit because it's very tiring. A lot of the work is quite heavy and quite smelly. That's why girls drift out of the kitchen because they get fed up smelling like fish and vegetables and things like that.
I do feel like L.A. has a very supportive and collaborative energy. I felt that in New York too but also there's so much space here! You can have a home studio. In New York you had to rent a room to do a session or to practice. As a solo artist, it was a lot more expensive. Here there is that comfort in lifestyle a little bit more, being able to breathe a little bit more, and creatively flow, not having to stress about how to get our gear there in a cab and pay by the hour, it's just a different vibe.
Albums aren't even selling anymore and there's a reason for that. Record companies are just signing single and ring tone deals and it doesn't seem like they're focusing on albums.
Just walking in the kitchen (and we have three kitchens at Le Bernardin), I exercise quite a lot. I also walk in Central Park for 50 minutes from my house to Le Bernardin every day, rain, shine, snow.
As a teenager I was very anxious. I had a lot of energy and passion that I wanted to channel into creative things, and I always felt like I wasn't achieving enough.
Classical singing - everything had to be homogenous, and it had to just feel like one continuous flow from top to bottom, bottom to top. And in jazz, I felt like, oh, well, I can sing these deep, husky lows if I want and then sing these really, like, tiny, laser highs if I want, as well. And I have - I have no obligation to make it sound like it's just one continuous flow.
I'm in a very close-knit, very, very tight family. My grandmother had 13 kids, so we had a lot of family like 50, 60 grandchildren and we all lived in Jersey, relatively in the same area. So every time there was something, my entire family was there. And I just believed everybody's family was like that.
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