A Quote by Rem Koolhaas
The thing is that I have a really intense, almost compulsive need to record. But it doesn't end there, because what I record is somehow transformed into a creative thing. There is a continuity. Recording is the beginning of a conceptual production. I am somehow collapsing the two - recording and producing - into a single event.
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If you're recording the song on your four-track in your kitchen, when you finished writing the song, you're recording, and it's cool, and honor that. And maybe that's the version that should be released. And if you're recording the song again, it shouldn't be because there's a version you love that you're chasing. It should be because "You know what? I made a recording, but I don't love it emotionally." So, okay, then record again. And be in it and take advantage of the buzz and energy of "I'm getting to record right now!" It's such a beautiful and cool privilege.
There is only one thing a writer can write about: what is in front of his senses at the moment of writing... I am a recording instrument... I do not presume to impose "story" "plot" "continuity"... Insofar as I succeed in Direct recording of certain areas of psychic process I may have limited function... I am not an entertainer.
There's a guy at the record company who's 30, and he says, I would not listen to these songs except in this context. Somehow the recording process, the arrangements, make it more accessible.
Artists should re-emphasize performance and de-emphasize recording. You always make more money if you have a healthy performing life than you will if you have even a moderately healthy recording life. Don't make recording the most important thing you do. Make performing the most important thing you do, and then you can make recordings and sell them at your shows, because record labels aren't going to be around to help you get on the radio stations, and the radio stations probably aren't going to play you anyway.
If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal. The drama around even sitting in the car and singing into a tape recorder that's as big as your hand - waiting until it's very quiet, doing your thing, and then playing it back and hoping you like it - is the same basic anatomy as when you're in the recording studio, really. Sometimes it's better that way because some of the pressure is off and you can pretend it's throwaway.
Andy Kindler. Andy's set - somehow he slayed that night. But something weird about it that wasn't translating for the CD. I don't know what it was. But we listened to it and it wasn't the greatest audio recording - I mean, the quality of it was good. But we didn't want to put it on the record because it doesn't represent what Andy does.
A lot of bands, they take a lot of planning to do a live record. They have to hire a crew, and they have to have a recording truck and all this equipment, and they record every single show.
I like to record with people. I don't particularly enjoy standing alone and recording my own voice or my own stuff. It's sometimes fun to do for demos and stuff, but I really enjoy the social act of recording records, because writing it is so lonely. And it has to be.
In Spanish, I record a lot of single-voice tracks, and in English, I 'stack' a lot of voices, so it's very different, and I think I got so used to recording in Spanish for six years that it was really refreshing and challenging to get in and record 'Double Vision' in English.
The first record was basically a quick, fast record. The second record, we were going for more of a poppier sound - like a heavy pop sound. For 'Rocket to Russia,' we'd sort of reached our pinnacle. We'd gotten really good at what we were doing, so that's like my favorite record - that's a really good record. It's just great from beginning to end.
You have to keep the recording process open. If you make too many decisions before you go in, you can lose out on those serendipitous moments that can really make a record, that I think are always required in the making of a really good record.
When I listen to Airplanes record, it takes me back. I remember a lot of my thought processes when I was 20 or 21, writing those songs and recording that record. I wonder what I was thinking when I was trying to say a particular thing. I hear some of the weird little nuances in the recording; I can hear what the room sounded like. I remember what it smelled like. I can remember sitting up in guitarist Chris Walla's bedroom and for the first time in my life having this realization like, "Maybe I can do this. Maybe I can make music that in some capacity people will enjoy and come see me play."
I think the good thing about the Internet is to give something away and to sell something else. Get a business model like that because the old brick and mortar record stores are falling apart, and the big record companies are collapsing under their own weight.
I almost never set out to photograph a landscape, nor do I think of my camera as a means of recording a mountain or an animal unless I absolutely need a 'record shot'. My first thought is always of light.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
I finished touring the last record and I started recording new .I never really left the bubble, which is I think a good thing. I was just very focused. Maybe I should have taken a break or something, and not done such a long push.
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