A Quote by Kurt Vile
When I leave a recording session, there is usually a lot of paranoia or superstition on my part, like I'm afraid to hear what we've done.
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A lot of guitar players, in every genre, are afraid to leave space. They're afraid to leave a hole, afraid they'll fall down it or something.
I think a lot of musicians play for the playback. I mean, that's the joy of recording - you want to hear what you've done and what you've contributed - but never listening to that playback kind of removes the intellectual part of making music, and it removes the tendency to be revisionist.
It's always different, depending on the writer and the director. A collaborator like Graham Reznick delivers a fully finished piece, perfected in every way. Other writers direct the recording session and then leave quite a bit of the work to us.
Every time I hear a recording I've made, I hear all kinds of things I could improve or things I should have done. There's always so much more to be done in music. It's so vast.
For the most part I write very stream of consciousness. I basically need to be recording an entire writing session because it's almost like I black out and just start singing whatever is on my mind and forget it as soon as I stop.
The step between prudence and paranoia is short and steep. Prudence wears a seat belt. Paranoia avoids cars. Prudence washes with soap. Paranoia avoids human contact. Prudence saves for old age. Paranoia hoards even trash. Prudence prepares and plans, paranoia panics. Prudence calculates the risk and takes the plunge. Paranoia never enters the water.
If all the actors are in the recording session at the same time, you can record all voices for one episode in an hour. Of course, the animation takes longer but the voice acting is done very quickly.
When I listen to Airplanes record, it takes me back. I remember a lot of my thought processes when I was 20 or 21, writing those songs and recording that record. I wonder what I was thinking when I was trying to say a particular thing. I hear some of the weird little nuances in the recording; I can hear what the room sounded like. I remember what it smelled like. I can remember sitting up in guitarist Chris Walla's bedroom and for the first time in my life having this realization like, "Maybe I can do this. Maybe I can make music that in some capacity people will enjoy and come see me play."
I don't believe in hell and heaven anymore. Or angels. I think Islam is a superstition like every other superstition. But now because it's a superstition, unlike Christianity, that hasn't been tested and hasn't gone through a process of enlightenment, I think it's a dangerous superstition.
Part of me is afraid to get close to people because I'm afraid that they're going to leave.
We're just afraid, period. Our fear is free-floating. We're afraid this isn't the right relationship or we're afraid it is. We're afraid they won't like us or we're afraid they will. We're afraid of failure or we're afraid of success. We're afraid of dying young or we're afraid of growing old. We're more afraid of life than we are of death.
I would imagine after the first recording session with Jerry Leiber and Mike Stoller and Atlantic Records I began to realize that this is going to be like this for the rest of my life and I knew that what, what they were doing was going to be successful because with each session that we would do, it would get better and better and better, the songs would become better, the, ah, the feeling of success was there and we were all in the middle of that as well.
I'd like the memory of me
to be a happy one.
I'd like to leave an afterglow
of smiles when life is done.
I'd like to leave an echo
whispering softly down the ways,
Of happy times and laughing times
and bright and sunny days.
I'd like the tears of those who grieve,
to dry before the sun
of happy memories
that I leave when life is done.
I still feel like there are so many things that I have to do to really become an icon. I've done a lot and laid down a lot of groundwork, but there's so much more work to be done. There's a lot more that I want to do, LGBTQ centers that I want to open. After I leave my legacy, then I will be that icon.
I think one of the pitfalls of doing your own music is that sometimes you can never be satisfied with it: you're afraid to say that it's done, and you keep reworking it or re-recording it or re-writing it.
All I ever wanted was to make scrilla
Have a recording session with J Dilla.
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