A Quote by Mike Gordon
I agree with the rest of the band, that a truly synthesized sound isn't really what I would want to go for.
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There's very little synthesized sound in the 'Arrival' score. There are a couple of synthesized beats in there, but 99 percent of the sounds in there are acoustic in origin and either played or sung by a musician or a singer and recorded in a room.
We like the ambiance and atmosphere, and we felt really early that... I mean, of course, Air is an electronic band, but we are doing so many real recordings and the studio is so important for the sound. The acoustics create atmosphere and emotion. Also we want to be independent, we don't want to be obliged to go into a commercial studio and only stay one week because it's really expensive. We want to be able to give a chance to a song, and to spend a lot of time in the studio.
In the early '80s, my sound - especially that mysterious kind of synthesized sound that was used so much - every relatively cheap TV show eventually had it because it's not expensive. It's just one guy doing the whole soundtrack. So it was overdone.
That was the special thing about the Carolina Chocolate Drops. We didn't want to do music full-time. We weren't looking to get rich, which is good, because we didn't. But we went further than we thought we would go. We started that band to celebrate Joe Thompson and the black string band music. That's not really a recipe for commercial success.
Yes, our band will change and evolve, but we want to establish the reality of what this band truly sounds like.
A weird thing about Gossip that I've always said: 'If I weren't in this band, I would never listen to it.' But I would go see it. It's a band you would go see that you don't necessarily listen to. We've always wanted to do a live album because personally, I think we're a way better band live than on record.
And not go to things that sound good that really did not have the kind of impact that we would want. Who disagrees with keeping neighborhoods safe?
I still love 'The Cure' more than almost any other band. But they were really, truly like the first band that I really loved and felt was mine, you know. At a pivotal time in my life when I was 13, 14 years old.
The lesson there is that there's no hiding the sound of a band that is bored with its own music. Whatever it takes to create the sound of excitement, that's what you want to do.
She [Joni Mitchell] wanted to have that (jazz) element in her music. Of course, when she heard Jaco's [Jaco Pastorius'] music and met him, that floored her -- really grabbed her. She decided that Wayne Shorter was really conducive to her music. She would speak metaphorically about things. "I want this to sound like a taxicab driver, or a taxi in New York," or "I want this to sound like a telephone ringing." She would speak to musicians like that, and we really tuned into what she would want our music to be.
I would join a band, learn from that band and be committed and passionate and bring my thing to the band. Then, when I felt like we were going to repeat ourselves, and I needed to learn more, I would go somewhere else.
Power is the thing that holds a band of perception together, and a band of perception is life for those who perceive in that band. If the band of perception were to go away, they would not exist.
The rest of the band tend to notice things like the door getting opened for the lead singer. And the door shuts on the rest of the band. The lead singer doesn't notice that, but the rest of the band does.
The advent of electronically synthesized sound after World War II has unquestionably had enormous influence on music in general.
You know why Foo Fighters have been a band for 20 years? Because I've never really told anybody what I think of them. The last thing you ever want to do is go to therapy with your band.
When I was growing up, every show had live music. Now, almost none have live music. Probably 97 percent of the shows on television are probably synthesized, or mostly synthesized, and that's a shame.
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