A Quote by Wendell Berry
Finally from the crease of the ravine I am following, there begins to come the trickling and splashing of water. There is a great restfulness in the sounds these small streams make; they are going down as fast as they can, but their sound seem leisurely and idle, as if produced like gemstones with the greatest patience and care.
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Perhaps it is to prepare to hear some day the music of the spheres that I am always turning my ears to the music of streams. There is indeed a music in streams, but it is not for the hurried. It has to be loitered by and imagined. Or imagined toward, for it is hardly for men at all. Nature has a patient ear. To her the slowest funeral march sounds like a jig. She is satisfied to have the notes drawn out to the lengths of days or weeks or months. Small variations are acceptable to her, modulations as leisurely as the opening of a flower.
Because of the Thames I have always loved inland waterways - water in general, water sounds - there's music in water. Brooks babbling, fountains splashing. Weirs, waterfalls; tumbling, gushing.
People never sing...except in the bathroom. Birthing women also make their natural sounds next to running bath water. There is something about the power of water. People are drawn to water, spas, and sacred streams. Women in labor are drawn to water, too.
We listen too much to the telephone and we listen too little to nature. The wind is one of my sounds. A lonely sound, perhaps, but soothing. Everybody should have his personal sounds to listen for-sounds that will make him exhilarated and alive, or quiet and calm... As a matter of fact, one of the greatest sounds of them all-and to me it is a sound-is utter, complete silence.
Well, things hold up even if they sound dated. It can be very difficult to listen to 80s pop songs with really, really gigantic smashed drum sounds. You just want to turn that gated reverb down on the snare. It sounds wrong now. It sounds amateurish. And ugly. But at the time it sounded state-of-the-art. So yeah, I think it's important not to sound state-of-the-art in a way that anybody else is going to sound. Or you'll quickly sound like yesterday's state-of-the-art.
Under the snowcapped mountains of Fiordland National Park, freshwater streams empty into the saltwater fiords, creating a unique ecosystem. This is a heavily wooded park, so the water in the streams is stained with tannin, a substance found in plants that makes clean water seem dirty, though it isn't.
There are times when friendship feels like running down a hill together as fast as you can, jumping over things, spinning around, and you don't care where you're going, and you don't care where you've come from, because all that matters is speed, and the hands holding your hands.
Albums tend to dictate what they need. Every time I have made an album it sort of feels like it is decided for me how that album is going to sound; it is not really a cerebral decision where you sit down and decide that you are going to make an album that sounds like 'this.'
I just keep going. When the water's too still, I start splashing around and things jump out of the water.
When despair for the world grows in me and I wake in the night at the least sound in fear of what my life and my children's lives may be, I go and lie down where the wood drake rests in his beauty on the water, and the great heron feeds. I come into the peace of wild things who do not tax their lives with forethought of grief. I come into the presence of still water. And I feel above me the day-blind stars waiting with their light. For a time I rest in the grace of the world, and am free.
If I do five, six records that sound great, I want it to come out as fast as it can. I don't care how many copies it sells. It's about musically moving the needle.
I can hear sweat trickling down your cheek
Your heartbeat sound like Sasquatch feet
Thundering, shaking the concrete.
A lot of people are like, "How are you going to re-do it?" I'm not worried about what people are going to say because you know people are gonna be like, "It doesn't sound like this... It sounds like this." I'm just going to make music that I know I'm supposed to make.
I do experiment with lots of different genres. In making music, I don't think of genre like, "I want to do this, because I'm going use that country music sound; I'm going use that hip-hop sound; I'm going use that acoustic [sound]." It's just making music. So now that I've traveled a lot more since I did Acoustic Soul, I'm sure that different sounds will come into place, because I have been exposed to it and I like it. But it's not so much of a conscience effort. It's mind and spirited. You know, we're humans.
As a child, l was fascinated by gemstones in the way that small children are fascinated by dinosaurs or trains. Stones seem very physical and look like sweets. You can look at them microscopically and imagine things about them.
The crews that are going to be self-produced are going to make the great albums, as opposed to making these mix-tapes, these compilations - "Me over this guy" It sounds good individually, but the art of the record is something that is lost. It gets to the point where it's just vocalists and producers coming in and piecing things together.
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