A Quote by Park Chan-wook
There's a humble beauty about listening to period instruments that I like.
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God is not looking for extraordinary characters as His instruments, but He is looking for humble instruments through whom He can be honored throughout the ages.
I made music on Seven the same way as on the other albums. I only used acoustic instruments... I'm looking for instruments that have vocal sounds, forgotten instruments like the guimbri... The first and second albums were about the voice, what came before. This album is about introducing those sounds into modern, Western life.
Listening to other people's needs is listening to God. Noticing simple, natural beauty, hearing music, even confronting the challenge of pain and problems - that can all be listening to God too.
Now it seems to me that we are in a universalising period... If we are to have world peace, we should have an understanding of all the idioms of beauty because the members of humanity who have created these idioms of beauty are going to be a part of us. And I would say that we are in a period when we are discovering and becoming acquainted with these idioms for the first time.
Let's be clear about what an oik is, it is somebody from humble circumstance who behaves like trash. I am friends with many people from humble circumstances.
The fun part, I will admit this much, there is a period when listening to my music is fun, and that's when I'm making it. There's a tiny little window before something gets old, but after it's come to fruition. There's a little window there where I can listen to a song probably about five times, and I'll really think it's awesome. That's kind of the period that lets me know when I - 99 percent of the time, that period is right about whether a song is going to be a keeper for an album or just a throwaway track that never gets - in that little window.
One of the things that's happening to a lot of us is that there's this vision of the beauty of God that transports us and that takes us to a new depth and a new height. It's one of those things about beauty. You can't capture it in a word or a formula. When you get to that humble place where the beauty of God has overwhelmed you, I think it changes everything. You can say the same creed that you said before, but now it's not a creed that grasps God in the fist of the words, but it's a creed that points up to a beauty that's beyond anybody's grasp.
Yet how strange a thing is the beauty of music! The brief beauty that the player brings into being transforms a given period of time into pure continuance; it is certain never to be repeated; like the existence of dayflies and other such short-lived creatures, beauty is a perfect abstraction and creation of life itself. Nothing is so similar to life as music.
At that time, 73 and 74, I became aware that there were a number of us making instruments. Max Eastley was a good friend and he was making instruments, Paul Burwell and I were making instruments, Evan Parker was making instruments, and we knew Hugh Davies, who was a real pioneer of these amplified instruments.
I feel like the sixties is about to happen. It feels like a period in the future to me, rather than a period in the past.
I don't have an agenda. I don't have things I want to get to or something. I have like a broad, slim grasp of certain periods and certain shows within that period, an awareness of them, but they demand re-listening. I have a flimsy grasp of all the eras and ideas within each period of what would be a good show to think of.
Daniel Boulud told me at a young age, 'Whatever happens to you in your career, you're going to be great - be humble. Just be humble.' And I think about that daily. Like, whatever happens to me, whatever awards we win as a team or whatever else, just be humble.
My work on hyper instruments started with simple instruments, like the piano.
I love the physicality of instruments, and instruments as objects, like dancers are bodies.
Listening to Benny [Goodman] talk about the clarinet was like listening to a surgeon get hung up on a scalpel.
The thing about hip-hop is, like, that the instruments were taken out of schools. But - you might have taken the instruments out of schools, but we'll take the records and sing over them!
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