American - Musician | July 8, 1970 -
You can't meditate on walking or certain human habits. You concentrate too much on the way you walk, and you'll start walking pretty weird.
Beck
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I've personally reached the point where the sound of MP3s are so uncompelling, because so much is lost in translation.
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Being able to take musical ideas through every iteration is attractive to me. Granted, not everyone's going to want to listen to that, but it should exist.
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Every band I knew or played with had flyers and properly-recorded demos and contacts; I couldn't even get a gig.
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I have heard some stuff that might be influenced by my records, but it's usually pretty wacky and off-the-wall, which is kind of annoying, to be frank.
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Most of my early records were not cohesive at all, just collections of demos recorded in different years. 'Odelay' was the first time I actually got to go in the studio and record a piece of music in a continuous linear fashion, although that was written over a year.
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I can't tell you how many things I've worked on where I sat on it for a few years, and then somebody else did something very similar. Whether it's some weird vocal effect you hear on another record, or a drum beat, or even a song title, a subject matter, or a mixture of different kinds of music.
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There's more things that I'd like to do. You know, each song is a little bit of a puzzle. I see most of them as just failed attempts.
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I feel like I've spent the majority of my time touring and traveling, so if I reduced the actual time making music, it's probably four and a half years at the most.
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Especially in music, you wonder, Okay, should I still be doing this? Like, are you overstaying your welcome at the party? But I don't know.
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I didn't want to be on a major label. I wanted all the attention and the noise to go away because I wanted to be something a little bit more substantial.
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When I was a kid and putting out my first records, there was a lot made out of the fact that the '50s/'60s generation was so dominant.
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