A Quote by Rachel Martin
If when you hear a song by OK Go you conjure up thoughts of a gigantic Rube Goldberg device or treadmills or drones or perfectly executed dance routines, then you know that this is a band that is masterful at coming up with amazingly creative music videos.
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The visual side of being a performer or in a band is, to me, as important as the music. I know not everyone shares that same opinion, but when I'm writing songs or working on lyrics or coming up with an idea, I think about videos as I'm in the studio. If I had all the money in the world, I would have the most amazing videos ever, you know? You're saying grandiose, and big; if the song warrants it, I try to push the visuals as far as I can.
If a band isn't coming up with two to four of those when they pick up their instruments, then they have problems - even if none of them turn into a song. If that's not happening in a band, it's time for therapy or breaking up.
There is a spirit in all music, the spirit has the ability to conjure up thoughts even pictures of something that happened or you wished would happen or you anticipate happening. Music has the ability to create ideas in you and me. It has the ability to encourage us to be creative.
You have a pet theory, one you have been turning over for years, that life itself is a kind of Rube Goldberg device, an extremely complicated machine designed to carry out the extremely simple task of constructing your soul.
You can be a rapper born and raised in go-go music, violence, drugs, crack, Reagonomics, and still, if you hear 'Wake Me Up Before You Go-Go,' you're going to find a way to hum along. Guilty pleasures? It don't matter. Sue me - I like the song. To dance to it is another matter.
I don't like drums dictating the song; like when you hear a fill and then you know the chorus is coming up.
To me, music's something I can dance to or listen to. To write about it is always more of what the music represents, or what it reflects. Like an ideal song, to me, is a song that you can dance to, that summons up some darker and greater mystery.
Sometimes when you have a song, you listen to it and say, 'It's OK. It's music to drive to.' But then there are songs where you can actually hear it as a movie.
It's actually really stereotypical that someone should be 40 and mellow out, but I think it's more about trying to conjure up a different intensity in my head, one where I'm more focused as a singer and hands-on with music and more exacting, and less trying to furiously fit a thousands thoughts into a four minute song.
Coming where I'm coming from, really, my family name isn't a pressure because, you know, music is not like sports, where you can go and do a hundred reps in a gym and come out and be all buffed up. Music is an expression of what's inside of you. And that's how I make music.
Dance routines for 'Meta Taro' are easy to remember, so this is a song for every generation from little kids to seniors to enjoy our shows by dancing together. I hope the song will be a gateway into metal music for the non-metal audience.
Sometimes I'll hear some music in my head or I'll go to the piano and mess around and come up with a tune, or be on the guitar and come up with some chords - or I'll come up with lines, or just some words, or just a sentence. It could be the title of a song. I do that all the time. I write titles of songs a lot. And sometimes I'll end up writing a song that I don't have a title for and I'll say, "Oh, this goes with that title".
I don't really have hobbies. I paint. I write. I direct videos. I take photos. I'm a creative person. A normal day for me is doing all of those things. Sometimes I stay up until 5 A.M. writing a song because I make music. It's the same with writing.
I've written arrangements for choirs and strings in the past, but I usually write music with my voice or a keyboard and then I'll get someone who is good at writing scores to write it out. Or, if I have the luxury of time, I will go in a room and hear the people perform and then change it through what I hear, not on paper. I can read music OK, but I probably rebelled a little - music changes into something else when you read it.
Then, you know, the other more-traditional role of the producer in, like, the kind of Quincy Jones sense is kind of part arranger. So you're coming up with, like, these - you hear these songs that are quite bare-bones, and you dream up what's the band doing? What's the rhythm section doing? What's the guitars, strings, pianos - that sort of thing. It's almost like a little toolbox.
A Rube Goldberg machine is, in its essence, a trial-and-error thing.
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