A Quote by Thom Yorke
I have this thing about my own voice on record. No matter what I sing, it sounds really serious, and I sound self loathing or whatever, which was just driving me nuts because that's not
what I was writing.
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What's funny about my voice is, no matter what I sing, I sound like I'm really sad. I don't even mean to do it, it's just something my voice has. I think that's one of the reasons why Okkervil has been dubbed as really mopey - I have this tone to my voice that sounds like that.
I actually had a bunch of songs that I worked on with Jamey Jasta from Hatebreed, but they were too heavy for me because my voice sounds good when I sing clean. It sounds good dirty too, but when I hear my voice sing really clean, that's a special sound.
There are things about how a note sounds on a violin that are really analogous to the human voice - you have a frequency and the air, and then you have a timbre which really is overtones - and making those things work together is one thing. The other thing is mechanical: If you can use your hands and arms to create sound on a fiddle, then learning to sing with it is like adding a third body part. And it's all training.
In the past, I've written my songs and then asked friends if they could record the vocals. I didn't want to use my own voice, because other people have much better voices. I was hearing the music with a voice that I don't have. It was a case of pulling whatever resources I had to get the sound I wanted, but that doesn't take anything away from the authorship. They are songs written by me that sound the way I want them to sound. Whether it's my voice or someone else's doesn't make a difference to the music.
I just really need to sing and sing and sing and not worry about writing. Just by singing for pleasure, your voice takes you to what it wants to sing. And that is how the best stuff kind of emerges.
The problem is, I cannot meditate. That's the one thing I can't do. That's the thing that's driving me nuts. I have a house by the sea, and I can sit and listen to the sound of the sea and eventually... but I can't really do it.
I procrastinate to a point where I'm filled with self-loathing and then I start writing. It's usually a state of self-loathing that gets me going.
Writing, for me, when I'm writing in the first-person, is like a form of acting. So as I'm writing, the character or self I'm writing about and my whole self - when I began the book - become entwined. It's soon hard to tell them apart. The voice I'm trying to explore directs my own perceptions and thoughts.
I have a really hard time writing my own lyrics for this record, because one, I had to write so many and also I was kind of perplexed by the idea of how I was going to sing and play... because at that time, we hadn't really thought about asking someone else.
The text for me is the musical score. I'm the instrument. My voice is the instrument. My voice is articulating the sounds which are coming through the imaginings and visitations in my head, and I'm making these sounds but I've selected them from an ocean of sound.
Many people say to me, particularly about my dance writing, 'It sounds just like you.' But it sounds just like me after I've made it sound like me.
A lot of overdubs from the last couple of records had to do with me being insecure about the way my voice sounds or the way I play guitar. I would want to mask it with extra things, or keep every moment super exciting. With the newest record, I tried my best to back off, and if something wasn't interesting at every moment, or if my voice didn't sound that good, just let it go and accept it.
People ask me about all sorts of sounds. There's a sound of a screeching toy or a rubber duck and everybody asks me about that, but it was an absolutely random thing, just a cool sound.
I hate the sound of my own voice. It's just up there, sort of naked and exposed. Live is hard, because on my records, I play almost everything on a lot of stuff. In a live situation, I can't control everything. I use two different microphones. One is just clean, traditional sound, and the other one is basically a cheap cassette-recorder microphone that goes through a distortion box to emulate my voice on the record. That helps some.
I was able to notice in a very early stage, there were discrepancies between the people who are writing the songs and discrepancies about the self that I was writing about. I was feeling that there were all these different people, both writing the record and having the record being written about them, even though ostensibly it was me sitting down and documenting a series of life experiences. Part of that, when I recognized this unconscious thing I was doing, was about these spaces, about these gaps.
My commodity as a writer, whatever I'm writing about, is me. And your commodity is you. Don't alter your voice to fit the subject. Develop one voice that readers will recognize when they hear it on the page, a voice that's enjoyable not only in its musical line but in its avoidance of sounds that would cheapen its tone: breeziness and condescension and clichés.
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