A Quote by Paul Banks
In an artistic and spiritual sense I'm really not that concerned about what happens after the album is done.
Related Quotes
I'm not too concerned what happens to my books after I'm dead. But I am very concerned by what's going on with the culture of reading and writing nowadays.
In the Seventies, album artwork became really beautiful items. The whole process of doing an album sleeve, it became a very artistic thing.
That's usually what happens with AC/DC: you make an album, and then you're on the road flat out. And the only time you ever get near a studio is generally after you've done a year of touring.
I am more interested in how people interpret the phrase 'Elect The Dead' than what I may or may not have intended. I named the album after the track, which is a spiritual song about love, life and death and is the heaviest song on the album without having any heavy instruments.
It's really touching that we can come back after so long and care about making an album that says as much as this one does. And after all this time, we really do care about each other.
It's not really a conscious decision to do a quiet album or a noisier album. It's just something that happens, I guess.
I like making art that's useful to people who have a harder road. Art is a tool to get through it; it's a tool to prepare for the worst. By envisioning it in an artistic context, you can make sense of it before and after it happens.
Carole King's second album, 'Tapestry,' has fulfilled the promise of her first and confirmed the fact that she is one of the most creative figures in all of pop music. It is an album of surpassing personal-intimacy and musical accomplishment and a work infused with a sense of artistic purpose. It is also easy to listen to and easy to enjoy.
Being a Barrymore didn't help me, other than giving me a great sense of pride and a strange spiritual sense that I felt OK about having the passion to act. It made sense because my whole family had done it and it helped rationalise it for me.
...I got a call from a record company offering me a contract, I did not want to take it because the Lord had pointed me in the direction of spiritual activity...And then it was disclosed to me that I could do both spiritual and musical work. So for five years I executed that contract, and when it was finished, after I made the album Transfiguration, I didn't make another album until twenty-six years later. This new album, Translinear Light, came out of the pleading and constant appealing from my son Ravi Coltrane: 'Ma, please make a CD.' So I eventually agreed.
The subject of walking is, in some sense, about how we invest universal acts with particular meanings. Like eating or breathing, it can be invested with wildly different cultural meanings, from the erotic to the spiritual, from the revolutionary to the artistic.
I realized if I'm not really making an album, I don't have to be concerned about things like stylistic consistency, pacing, a coherent mood. All that stuff goes out the window.
I feel like when we talk about post-apocalyptic themes that's what we're really talking about. We're always returning to this sense of being alone in a strange new place where all is bleak and all is lost. And it is this sense of isolation that permeates the whole album. I wanted to go into the balance between fear and transcendence.
The truth is that I've got all my net worth safely in Berkshire and I will never sell a share so there is no one more concerned about what happens after my death than I am.
Film, as far as I'm concerned, is my area of artistic endeavor, so I never think of a movie that gets released as being all done-it's just when they took it away from you.
People are really looking for greater sense of control of what happens in their lives, about the issues they really care about, and they feel that the political system doesn't necessarily deliver.
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