A Quote by Yung Lean
I didn't want to be a one-hit wonder. I really wanted to make albums that had a different aesthetic every album and a different sound.
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The reason I stopped doing the band is that I wanted to do something different... Yes had become like 'Groundhog Day' for me. I loved being in the band, but it was album-tour, album-tour, different album-different tour.
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 wanted to make good records. But my problem is I've got a low boredom threshold, so I wanted it to look and sound different with each album, which is really tantamount to suicide, cause people lose it, they lose it - they say: 'I like that, and that's not this.'
Every project is different. When I'm working on my albums, I've worked with different producers and they've all had different personalities. The recording studio sets the vibe, and that changes as well.
On the last album, I didn't want to disturb the melody with too many stories. This time, I wanted to know if I was able to create images with words, with the sound of words.(...) I think that’s a good thing when the one who is listening, is feeling it in a different way that the one who creates. We are all listening with different perspectives.(...) I don’t want to impose my subjectivity to the listener.
You're never going to release the next album and have it be different from your other two, three, four, five albums. People give them a hard time, but it's like, 'I'm an artist, I'm trying to grow. I don't want to have the same album for 10 albums in a row!' Same thing for a martial artist.
The way I perceive an album to sound and the way I put out mixtapes are two different energies. There's a different focus; there's a different sound.
From 11 to 17, I just toured my butt off with my dad and my sister. We hit the road and I was singing all kinds of different songs and different types of genres. But I knew from an early age what I wanted my sound to be, which was country on bass, and I wanted to be a country artist.
With the fretless bass, you have a different tone and different sound, a different dynamic to the instrument, so you can really make it sing.
We just wanted to make albums where every song stands out and is different. It must not be the same track from one to 12.
I think with the 'Get Weird' album, it was the hardest album we've ever made so we had no idea what sound we wanted to go for, we didn't really know what we wanted to write about... and so it took a lot of time.
A lot of times you'll hear bands and it's a different sound coming out than what's on stage. Because you can clean it up through a PA and make it sound completely different than what they really sound like.
The great thing about albums is it gives you a lot of choices, and we can all say that the album business is dead, but watch Taylor Swift. I don't think it's dead. I just think we've got to hit on the energies that make people want to collect albums.
Just women who are really eclectic, so every woman from Gwyneth Paltrow to Peggy Nolan, who has half a shaved head and has a totally wild aesthetic. They're woman who are doing things, running their own businesses, taking chances at different levels of success and different industries. A lot of my friends are creatives. It was just who I really adore and wanted to share with a greater audience.
When I formed the band and created the Wildabouts with my friends, we decided we wanted to make a band-sounding album, a rock-sounding album. I made two solo albums before that were more experimental albums, and I think that they didn't really resonate with my fan base because they were too out-there, too artsy.
I didn't think anyone was going to buy 'Do You Really Wanna Hurt Me?' It was really personal, not a hit record, I thought. I wanted us to sound completely different. Shows how much I knew.
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