A Quote by Miranda Lambert
I did surveillance a lot, which sounds exciting, but it never was.
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Also in Norah Jones, now there's a voice that sounds and I don't mean disrespect but sounds a hundred years old that sounds incredibly experienced. It's just an exciting time.
I know I did 'Establishment Blues,' and I said 'This is not a song it's an outburst' and I'd play it, I never did describe it as a rant - R-A-N-T - but the thing is it's exactly that. Sometimes it sounds like that, but there's a lot out there on the everyday man, on the plight of the little guy.
Closed Circuit' came out of a general anxiety about surveillance. Government surveillance and private surveillance.
I think mass surveillance is a bad idea because a surveillance society is one in which people understand that they are constantly monitored.
It's exciting to see if you can create something that sounds, at least to your own ears, exciting.
By being politically correct, you're closing your mind to a different point of view. Which sounds a lot like prejudice. Which is definitely not politically correct. See what I just did there?
So in that way, fame has become a weirder thing to go after, but the thing about me is I've never been after fame. That sounds cliché, but it's true. I think fame sounds uncomfortable to me, but being able to like write this book and make my living doing very exciting, creative stuff sounds really amazing. It has been really amazing.
I think that has a lot of dangers, as does government surveillance, which is way too high.
I always will be a Raven. That's where I was kind of raised in the NFL. I did a lot of growing, and we did a lot of special things. That's something that can never be taken away, and it never will. There's a lot of love there.
When you try to grasp the way the Western world is going, you see that we are on a ratchet towards a surveillance state, which is coming to include the whole population in its surveillance. This is our reward for accepting the restraints on the way we live now.
It was a book [George Packer written on our presence in Nigeria] that was killed by the response of other people. Which sounds quite cowardly, perhaps, but it was the first manifestation of what is currently a really big issue: how political correctness defines the limits of what you can do. In that sense, it was super-exciting and maybe the most magical project we did, but at the same time fraught with mixed feelings.
What we're really debating is not security versus liberty, it's security versus surveillance. When we talk about electronic interception, the way that surveillance works is it preys on the weakness of protections that are being applied to all of our communications. The manner in which they're protected.
Making sounds that literally no one has ever heard before because the software and the technology's never been there, and pairing that with great songwriting, then that's what's exciting for me. That's what I wanna do.
I think a lot of electronic musicians are drawn to starting with texture because the whole reason we're working with electronics is to try to create new sounds or sounds that cannot be created acoustically. When you're doing that, it's nice to be able to just create a different palette for every single song. I feel like a lot of electronic music sounds like...Each album sounds like a compilation more than it does a band.
A poet must never make a statement simply because it is sounds poetically exciting; he must also believe it to be true.
Great songwriting will never die - it's in the DNA of music - but what's new and exciting is pairing that with new sounds that technology is enabling us to make.
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