A Quote by Porter Robinson
Toplines usually suck. I'll send a song to a band or artist whose entire body of work I love and I'll ask them to do a vocal for one of my songs and I'll get it back and I'll hate it so much. It might have to do with my possessiveness over my music.
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When I see an artist whose work I like at a party - I'm old now, so I can do this - I go right over and tell them how much I like their work. Instantly, I'm on their side. The act of saying it takes away the competition. The act of saying it makes me not hate them anymore, because they're good.
The radio was on and that was the first time I heard that song, the one I hate. Whenever I hear it all I can think of is that very day riding in the front seat with Lucy leaning against me and the smell of Juicy Fruit making me want to throw up. How can a song do that? Be like a net that catches a whole entire day, even a day whose guts you hate? You hear it and all of a sudden everything comes hanging back in front of you, all tangled up in that music.
The only Train song I like is the one that I play in my act "Drops Of Jupiter". Sheryl Crow has three or four songs that I like; also Dave Matthews Band. With those particular musicians, it's more that there are a few songs that I like rather than their entire body of work. There are a lot of indie bands that I like too. I'm not a snob about music. Does the fact that I like Stephen Sondheim and Broadway musicals make me a fake? Does the fact that I'm "the Billy Joel of comedy" mean that I don't have indie-rock credibility?
Do you want to suck face or not?” “Suck face?” His head fell back and he laughed, his chest vibrating against me. It was a lusty, full-bodied sound and my toes curled at hearing it. Gideon laughed so rarely. My hands slid under his sweater and glided over that warm skin. My lips moved over his jaw. “Is that a no?” “Angel, I’ll suck on any part of your body I can get my mouth on.
Most of the producers I work with are decent mixers. We'll wind up in these spots where I'll get the mix back and I'll put a few more pieces of production together and send it back to the mixer. It's so easy to change the entire perspective of the song by changing the mix.
Because of the irresistible nature of our own Imagos, I think the replication of it in music is a siren song - we love those tormented songs, and we listen to them over and over and over the way that we smash ourselves into our lovers, or the same kind of lover, over and over. That drive is tireless, until it is resolved. And we can "enjoy" it safely through music, which is a simulacrum we have power over.
Besides my fast and slooow songs, I further divide my work into three main song types: the ballad or story song, the variation on a theme (saying the same thing over and over and over again) song, and the weird song. It's important to have weird songs, but I find that a little weirdness goes a long way.
The nature of music fandom and music fans is that, very often, they fall in love with a band or a particular artist, and they really would like... I'm talking generally; that's not everyone. But a vast majority of the fan base would prefer the band to keep making the same record and the same style of music over and over again.
We've gone further on this album, where we have a Big Band song, kind of a Sinatra-type song; we have a couple songs that have electronic music on them. We've got a couple rock songs, maybe a little heavier than what we've done. So the title 'Jekyll & Hyde' really covers the breadth of the record.
It's much harder, much more work to be your own artist, and it's hard for me to just want to do one thing. I love doing my own music, but I really have to get into a groove with it, which has been difficult over the last few years because I've had so much great work coming in.
I always listen to music when I write! I basically make a playlist for every essay; sometimes it's just one song, or three songs, over and over and over. I sort of find the emotional pitch of the piece, and then match music to it, and then the music becomes a shortcut to the feeling, so I can enter it and work anywhere: on planes, cafes, at work, the train.
The Song of Love, the Song of Hate, the Songs of Praise and of Thanksgiving; I've learned them all, but there remains one called the Melody of Living.
It's so much fun to have vocal groups out on the road because we get to see them do their thing, and at the end of the night, we come back, and we all do a big thing together for the encore with 'American Band.'
Other memories stick, no matter how much you wish they wouldn’t. They’re like a song you hate but can’t ever get completely out of your head, and this song becomes the background noise of your entire life, snippets of lyrics and lines of music floating up and then receding, a crazy kind of tide that never stops.
I still feel like if I can get a song to work with, say, a basic beat, a rhythm, some chord changes, and a melody, a vocal melody - if it works with that, then I feel it's written and there's something there. So I intentionally don't get involved with arranging stuff or fussing over the sounds and the edits and the beats too much, at least not in the beginning, because I feel like then you can fool yourself that you've got something there, when you might not.
I have amassed an enormous amount of songs about every particular condition of humankind - children's songs, marriage songs, death songs, love songs, epic songs, mystical songs, songs of leaving, songs of meeting, songs of wonder. I pretty much have got a song for every occasion.
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