A Quote by Dawn Richard
There's definitely that tribal Africana thing going on in my sound. It's that marching band, second-line music, that Creole-influence in the kick, and the snare that drives everything for me. I think it's really what's separated my sound from a lot of the R&B and pop music out there.
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Neil Young, who isn't really evident when you listen to my music, is probably my favorite of the legends, besides Dylan. They're all a huge influence on me. For me, just following rock history and watching Darkness On the Edge of Town and realizing that's it's okay to be obsessed with a snare sound because Bruce Springsteen was obsessed with a snare sound.
I definitely prefer things to be dark, I definitely prefer things to not be particularly obvious. I like a lot of mystery in music, and I like it when things don't sound just like what they sound like always. But at the same time I like everything to sound very earnest and honest. So I don't really think that I have a definite stamp, but if people see that, that's awesome.
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.
You certainly don't hear any country music on pop radio today. But for a while you did, and it was a lovely thing to have all the different genres of music cohabitating the Top 40 - the folk sound, The Beatles, the British sound, the Motown sounds, that kind of light country - it was a welcome relief after a few hard rock records. Everyone was sharing the airwaves, and I think it was a beautiful time for American music.
I just enjoy the sound as I hear it in everything around me. The high and low frequencies of sound bewitch me. Whether I am in a shop, in the bathroom or listening to noise that my fans make... everything is music to my ears and drives me. I just put all these things in rhythm when I'm playing.
The thing is that when I'm making music, I'm not really chasing that sound - the Atlanta sound that we hear a lot.
I think whatever we've done as a band at The Clientele, we've done because it's so natural. Our "old" sound isn't really like any actual bands from old times. We take elements of past music styles and past sounds as a way to... this is going to sound very pretentious and perhaps overly thought-out, but as a way to strike chords of vague nostalgia, and strike chords of, "I've heard this before somewhere." That's what a lot of our music is about in terms of the words and ideas behind it, so we really use old sounds as a way to serve that agenda.
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.
My music doesn't really sound like punk music, it's acoustic. And it doesn't really sound like folk music 'cause I'm thrashing too hard and emoting a little too much for the sort of introspective, respectful, sort-of folk genre thing. I'm really into punk and folk as music that comes out of communities and is very genuine and very immediate and not commercial.
All music done, as I said, through low res mp3 and $5 earbuds and so I think as a producer or a band you want your music to sound good in that medium. Sometimes when I'm doing a mix I'll listen to it on my laptop, on the crappy speakers on my laptop. It lets me know what the tracks gonna sound like if someone else listens to it that way.
I love the sound of '70s glam records. I love that snare sound. The recordings I like, it's all based on if the snare sounds good. The drums have to sound great.
When it comes to 'Maruvaarthai,' I have said many a time that Carnatic music drives my creative influence. In that sense, Darbuka Siva gave me a lot of room to breathe with the melody. The instrumental, however, was grounded. The lyrics is just poetic, and phonetically, they sound beautiful.
My main influence is - it's music. It lifts the spirit. I am always listening to music. And sometimes what inspires me is a little sound or some small arrangement. I really do listen to music continuously all day long - very loud, so people can't stand to be around me anymore.
That's what I was trying to say when we were talking about sound. I think that every person, whether they play music or don't play music, has a sound - their own sound, that thing that you're talking about.
Big band music, to me, it really has three key elements. First is the lyrics are really sweet, and they're just really family-friendly. The second thing is the music is jazz music, so the music is complicated enough to hold your attention for 5 or 6 million plays. That makes the songs interesting. The last part is the fact that it's danceable.
I don't really care about labels that much. I wouldn't really call our music retro. There are influences of things from the past, which there is in everything. I think we're quite a modern band, actually. We don't record with old equipment. We use computers and programmed drums. We don't use any guitar amplifiers. We're very much a modern band in the sense that we love computers and what they can do to music. I guess we're just good at a different sound.
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