A Quote by Phil Elverum

My shows have never been related to my albums at all because my albums have all kinds of crazy instruments and stuff that could never be performed live. I'm used to people expecting this 12-piece band to show up with three drum sets and an accordion.
People buy my albums, and I love my albums when I do them because we try to record live with that same energy, but I can never get the energy that I have when I'm live.
I like that kind of classic-type sound. A lot of my favorite albums were tracked live, with a four-piece band. I love the way those albums sound, but I want to make records that sound like that in the way I like to make stuff.
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.
I started running to different albums, and I was starting with the short albums and moving on to the longer albums. I was interested in how they built up, in tempo and intensity. it made me interested in albums again, too.
I just liked stand-up comedy so much. I used to memorize Bill Cosby albums and other people's albums, George Carlin, Flip Wilson.
The albums I did around that time probably wouldn't have been the same without Ecstacy. The first three Soft Cell albums... were all really albums that were just done around Ecstacy and the whole E feeling.
I find the fact that so few people buy albums to be strangely emancipating. There's absolutely no reason for 99% of musicians making albums to think about actually selling albums. So as a musician you can just make an album for the love of making albums.
The first nine albums there was never a Synthesiser, never any Orchestra. There was never any other player except us on the albums.
With The Pogues, at least the first three albums I'll stand by completely, yeah? Because I was in artistic control then, yeah? And the last couple of albums I'll stand by anything that's got my name on it, yeah? But I'll stand by anything that is on The Popes' albums, you know? I wouldn't put stuff out that I didn't like. I don't put out bad music. And I can tell the difference. I know that.
For 10 years, I had a band called Steel Train. We made three albums. We toured like crazy.
I've never not been pleased with one of my albums. I figure because it's spoken word, there will be people who relate to it, and people who don't, so I don't worry about any of that. I've been doing it for over twenty years. I've always written because it was something I had to do, never for the glory.
You're never going to release the next album and have it be different from your other two, three, four, five albums. People give them a hard time, but it's like, 'I'm an artist, I'm trying to grow. I don't want to have the same album for 10 albums in a row!' Same thing for a martial artist.
I wanted to make something that reminded people of the way albums used to feel. I wanted something as good as the stuff put out by the Bomb Squad, or Dr. Dre and his production crew, or 'A Tribe Called Quest.' I miss albums like those.
First of all, I've been having a wonderful run of luck with cover albums, songs I didn't write. I had five pop cover albums and two Christmas albums, and they were all very successful.
Guy Picciotto had a really sound point: Live albums basically have bands playing songs that are available on studio records, and what example can you think of where the live album is better? What are the great live albums? I have live albums of bands, but I wouldn't listen to them for the most part. So we thought, instead of spending energy trying to puzzle out how to create a live record, let's just write another studio record.
Avril Lavigne sold a massive amount of albums and she has to top that with her next release. We have four great albums behind us, and it's not going to be as hard to live up to that.
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