I think articulating things through song is a good way of letting people know that they're not alone.
What frustrated us about the song [Robots] was not that it existed - we owe a lot to that song and have had a ton of fun playing it. The problem was that it was a "given".It was like everyone was waiting for it to happen, and then it better be as crazy as the time they saw it before. Started to feel like dancing monkeys.
And sometimes you just have to trust that there will be more, sometimes you go through dry spells and you have to assure yourself "no no, it's gonna be fine. There's gonna be more songs, it's all good.
I feel like songwriting changed from something that I liked doing to something that, I feel, is a very important outlet for me to digest all the things around me. Once I put thoughts into a song, I can let it go, it doesn't bug me anymore you know what I mean? It's kind of a catharsis.
I'm influenced in a million different ways by a million songs that I've heard and digested.
There's when a phrase circles in my head in a number of ways for any number of days, weeks, or months, and then that eventually becomes a song. There's a slow permeation of the idea and then that leads into a bunch of themes and becomes a bunch of lines.
The outlet for my sorrow, that I do feel deeply, and the pain, is the songs. That's where it goes.
I always try to give my songs as gifts.
Longer is not my best song, it's just a classic love song, and every songwriter always dreams of writing a classic love song.
Even if it was a difficult operation to copy a song, it only takes one person to do it. After that the spread of the song via the Internet or other means of propagation is only limited by the honesty of the users.
I think a lot of electronic musicians are drawn to starting with texture because the whole reason we're working with electronics is to try to create new sounds or sounds that cannot be created acoustically. When you're doing that, it's nice to be able to just create a different palette for every single song. I feel like a lot of electronic music sounds like...Each album sounds like a compilation more than it does a band.
I'm often just writing just to write. I'm not writing with...If I write, like, sitting down with a goal in mind, it's always, like, the worst. It turns into a ska song even if I'm trying to write like a horror movie sound track or something.
Finishing a song is definitely the hardest part. It's, you know, you can polish it forever and then whittle it down into something it wasn't and be like, "I need to build it back up," which is why some tracks have 400 versions. But I guess you know when it's done when...I have a maximalist approach to sound when I can't find any more space to put new sounds.
To get large groups of people to dance, there needs to be something accessible about the music. The beat can't be too esoteric, but unless we're talking about prog or etherealist composition, I think there's something simplistic about most music. What's completely insane to me is that people would consider music that's simple to be dumbed-down. Couldn't simplicity be a deliberate, smart choice? Those people aren't really listening; they're judging a song off of a beat, off of a pulse.
Maybe it's because I grew up during the MTV generation, but to me a perfect song is one I can imagine a music video to, a song that can take you into a dream.
Moments of unexpected sweetness happen when romance enters, which always happens in songs - if just for a split second.
It never really interested me in the past but, for the first time, I wanted to make a pop record. I thought a good way of doing it would be to make songs that didn't really make sense to me as songs; songs that I couldn't just sit down and play in front of someone and then get them to play over it.
I'm more focused as a singer and hands-on with music and more exacting, and less trying to furiously fit a thousands thoughts into a four minute song.
I certainly didn't predict people who spent years actively disliking the band to all of a sudden like the band. That's pretty funny to me, and it makes playing live kind of interesting, 'cos we're doing lots of things that don't really have a lot to do with that record, and even presenting the songs off that record in a way that's a little more muscular and without as much of the sheen, which is what I think part of what people really liked [about Kaputt].
It's actually really stereotypical that someone should be 40 and mellow out, but I think it's more about trying to conjure up a different intensity in my head, one where I'm more focused as a singer and hands-on with music and more exacting, and less trying to furiously fit a thousands thoughts into a four minute song.
I don't really listen to rock music anymore. But were I to write a song that sounded like it could be a rock song, I'd probably give it to the Pornographers, and I'd be excited to try to make it work.
I've never had any kind of work ethic. I've never sat down with the intention of writing a song.
Generally, if you could picture a bunch of rock and roll momentum behind a song and it was particularly melodious, maybe the Pornographers would do it. If it was kind of moody and more lyrical, then maybe it would be a Destroyer song. Anything that's really lyrically driven I would keep for Destroyer.
I'm definitely a guitar player, but it's the last thing I listen to in a song, after the singer and the drums.
I tend to name albums after one of the songs.
