One Thing That The Internet Has Created

The First Music I Bought When I Was Nine Or 10 Was Pop Music From The '50s And '60s, Like The Everly Bros., Elvis, Del Shannon, The Flamingos, The Platters, Whatever I Could Get My Hands On. And Then Some Musical Things, Like Camelot, Singing In The Rain And Hair.

A Record Is Something That Isn't Real Or True. It's Like Cinema. It's A Construction Of Something Hyper-real And Surreal And Unreal All At The Same Time. You Make A Space That Doesn't Really Exist. One Of The Big Joys Of Being In This Line Of Work Is Building The Recorded Versions Of The Songs.

For Me, Promotional Thing About Some New Album Coming Out Destroys A Lot Of The Excitement Of Making Records. Records, Movies, Books - They're Not Supposed To Be Like Math Books. The Purpose Of Them Is To Kind Of Take Us Out Of Ourselves And Give Us Some Sort Of Alternate Experience Or Respite. To Try To Maximize The Relationship Of Listening To A Record Through Promotion Is Like Experiencing Driving A Car By Reading About Stimulus Programs. It Kind Of Defeats The Purpose.

You Make The World - With Enough Strength And Enough Luck You Make The World That You Live In. If You Accept That There's Participation To Be Done And An Existence To Be Had - I Tend To Think There Is Only One Way I Want To Go Through This Existence And That's With My Eyes Open And My Chest Out.

When I Listen To Little Fourth-dimension Artifacts, They're Like They Were Made As Time Capsules In The First Place. You Know That When You're Writing The Song And Recording The Song, You're Already Sending A Message To The Future Listener, Whoever And Wherever And Whenever That Will Be.