A Quote by Kristian Bush
When I got my record deal at Atlantic, at the time, 'indie' wasn't a style of music: it was a kind of label. And I think, eventually, the bands that ended up on those labels began to be branded as 'indie bands,' and then it became a genre.
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I tried so many different musics. I kind of burned out on classical and wanted to make it fun again. I started playing with indie bands and country bands and finally realized electronic music brought my style to life.
I don't know if i have a 'take' on L.A. The music community is enormous, from the studio musicians to the bands trying to 'make it' to the indie bands... so many bands... it can be overwhelming. But it seems healthy.
When we opened Babbo, we were an indie band. Now we're kinda Apple. We have 19 restaurants and 2,800 employees, we are no longer perceived as the indie band although we think of ourselves as the indie band, and we operate our restaurants as individual indie bands.
When we first came out it was this happy accident, and I was sort of into hardcore at the time. Jordan our singer was really into Jawbreaker and a lot of indie rock bands and old Dischord bands, and sort of like more of the indie side of music. Our bass player was really into West Coast punk.
There can be a wrong time - it's happened to countless bands where they release their first record on a major label and never learned what they maybe should have learned on an indie.
I didn't grow up with indie rock - I mean, I listened to bands that are considered indie rock, but I think that term is dead and uninteresting.
I always thought of indie-rock as being rock music by bands that were on independent labels, and that's a great thing.
I think there was a real lane built for indie bands during the time when Chairlift came up.
I'd only do a deal with a label if it allowed me to still be indie and have that indie mentality. I have to have creative control.
Around '93, the radio started playing 'Loser' by Beck and 'Cut Your Hair' by Pavement, and then I got way into Pavement. That was kind of a gateway drug into indie rock. I got all their B-sides, and I got that 'Hey Drag City' comp, so I got into all those Drag City bands.
I've always been a fan first and foremost - obsessing over bands and seeking out bands, and spending hours and hours listening. When I played music, the scope of my fandom became more myopic; I was focusing on the bands we were touring with, or the bands on the label. And you're always positing yourself in relation to other bands. Since I haven't been playing, I feel a little less cynical. I'm able to seek out music and approach it strictly as a fan.
I started writing songs for youth theater and stuff, and so it's really writing music for the stage that started me out, but then I eventually went to music college and did a two-year course in contemporary music and then just played in endless bands, cover bands, jazz bands.
But, then again, I wouldn't call myself an indie-rock supporter even if there are some really good bands out there and there will always be some real good new bands.
I was trained at classical piano as a youngster back in PA. To rebel, I bought a drum set and played in some rock & roll bands. In college I picked up a guitar and became obsessed with practicing which led to playing guitar in indie rock bands in the mid 90's. Which led me to Los Angeles.
When I began my journey, my aim was to do indie music. While growing up, there was an abundance of it but by the time I decided to do it, there was nothing. So, I became a playback singer, which got me fans and taught me about the versatility of my voice.
There are bands that I got into when I was 15, when I was mad at my dad and just wanted to be different. I don't think I'd give those bands half a chance now. But I hold some kind of nostalgia for them that I won't let go. Bands like Minor Threat and Black Flag.
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