I hate it when bands change between records. They're thinking before they make music.
I don't like English bands. They're too structured.
We had punks literally protesting Fugazi. I respect a boycott. I respect a conscionable boycott, but of all bands to boycott? Fight crime. If you really want to get out there, go fight crime.
A lot of bands wanna do something new all the time and never repeat themselves, but I'm not so interested in that. If I feel like I can do it better the second time, I'll give it another shot.
I'd been through crappy day jobs and stupid garage bands. I was determined to make it as a musician.
There must be bands of enthusiasts for everything on earth-fanatics who shared a vocabulary, a batch of technical skills and equipment, and, perhaps, a vision of some single slice of the beauty and mystery of things, of their complexity, fascination, and unexpectedness.
I've always gravitated naturally towards a little bit of a heavier thing, having been in punk bands and metal bands before I ever got into pop.
My favorite instrument is the snare drum. In Scotland, the snare drum is very prominent in Highland bands. The Scottish style of playing is in my blood. It's a very powerful instrument, but it can also be soothing, like velvet. It's a real challenge for composers.
There are a lot of bands who claim to be punk and they only play the music, they have no clue what it's all about. It's a lifestyle. It's not about popularity and all that crap.
Early on, before rock 'n' roll, I listened to big band music - anything that came over the radio - and music played by bands in hotels that our parents could dance to. We had a big radio that looked like a jukebox, with a record player on the top. The radiorecord player played 78rpm records. When we moved to that house, there was a record on there, with a red label. It was Bill Monroe, or maybe it was the Stanley Brothers. I'd never heard anything like that before. Ever. And it moved me away from all the conventional music that I was hearing.
People from major labels were afraid to go to Black Flag gigs throughout most of the bands existence. They treated our gigs as something threatening. Im sure that it probably was. They probably had reasons to be scared.
We want to be safe for the future because we don't know how record companies can afford to pay for studios for bands. If we build our own studio, it means we can make our own music for the rest of our lives, whatever happens. We feel safe now, it's really cool.
When I was young I wanted to make films and then I got into folk music when I was about 12, and started going to this folk club in Auckland. My dad [Barry Andrews] was in punk and post-punk bands, so I guess it was a side of music I hadn't really listened to before - the really narrative form of songwriting.
We [ The Kansas]'re somewhat hard-pressed at this time to imagine any bands that'll be around 40 years from now (and that's our personal opinion).
Bands don't last. Bands don't last forever - it's a rarity when they do.
We never nicked stuff from other bands because that was a no-no because we were all in the same boat. You don't steal from the poor because, let's face it, they're poor. There's no sense in that.
Friends of friends had bands in college or in their early 20s and had a moment where they had some kind of interest from a record label or manager. It's always interesting how people handle those decisions and those moments.
Ninety percent of all music is always crap, and when too many people decide they're going to have guitar bands, then ninety percent of them are going to be crap. It's just a given law.
Perception is made up of bands.
I don't have much contact at all with other black metal bands.