As much as we sometimes roll our eyes at the ivory-tower isolation of universities, they continue to serve as remarkable engines of innovation.
There's at least one fist bump every interview.
I find that the time that goes by is actually your best friend when you are making a record. The passing of time gives you perspective on what you recorded and what you wrote. If something sounds good to you 12 months after you recorded it then chances are pretty good that there's something valuable about the part or the song.
Certain things you have to stumble on to. They can't be preprogrammed.
When I first started making music, it was learning other peoples songs and putting them onto four-track. Like Beatles songs and stuff. When I started writing, I used the singing side of the production as a vehicle for melody and lyrical ideas.
I went every Sunday to church when I was growing up, and I think that music had an affect on me before my memory can recall.
I treat the act of making a record very much like working in a laboratory, experimenting with sounds and ideas. Whoever chooses to latch onto it, great; whoever doesn't, that's fine, too. The reaction always pales in comparison to the weight of the act of production.
Repetition is important in the training not only of animals but also of humans.
. . . the opposite of love is not hate - it's apathy. It's not giving a damn. If somebody hates me, they must "feel" something. . . or they couldn't possibly hate. Therefore, there's some way in which I can get to them.
But I like not these great successes of yours; for I know how jealous are the gods.
But what was my motivation was music, and the fact that I love to move around. I'm always moving around.