American - Musician | December 17, 1981 -
I'm from the East Coast; I think about things dialectically sometimes - in other words, antagonistically. The rhythms that I think of are polyrhythmic, bouncy, loping. The way that I want to approach that is to get, like, a flat-footed Connecticut hard-core drummer to play these bouncy, loping polyrhythms.
David Longstreth
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What appeals to me about 'Blind Willie' is just how sparse that music is. Just this idea - the grain of it, the rawness of it and the simplicity of it. The directness of the language.
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A lot of my vocals were the first time I ever sang the song.
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I just have these terrible memories of our first European tour back in 2007. We had hired this van and tour service from the former Czech Republic called Fluff Wheels, and they sent us out with this 19-year-old vegan driver kid who had no money and refused to eat anything.
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Ninety percent of touring is a logistical maneuver, moving your body and everyone else's from one city to the next. You're like a piece of gear. Then you jump out of the box, get onstage, and play. That sounds cynical, but it sucks to move around so much.
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The first musical stuff I worked on was after the tour for 'Swing Lo Magellan' had ended and I didn't really know what else to do. I didn't know what music I would write. I just did work for other people - arranging, producing, writing - and all of that seemed to be in L.A.
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I loved 'Nothing Was the Same' so much. For me, that was the first Drake record that I got into.
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I think, for Solange, it was important to make a super-strong direct statement with 'A Seat at the Table,' and she thought 'Cool Your Heart' was kind of a summer jam that didn't really fit.
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People like to put music and art up against the dehumanizing character of commerce and business corporations.
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I wasn't into chimpanzees or gorillas because I kinda felt like they were the Coke and Pepsi of the primate world.
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Dirty Projectors has always been a band that's been card-carrying modernists in terms of pushing different kinds of abstraction to the fore and trying to take them to the center of the culture or something like that.
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I've been good at creating new textures and new fabrics, like vocal hocketing, or interlocking guitars, or suggesting new ideas for style... that's what the band has really excelled at.
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