John Darnielle Quotes
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I used to assume no one would care, but I do think now I've written songs that are useful to people having dark hours.
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I think I read too much Arthur Conan Doyle when I was young and got this idea that a gentleman should know a lot about one thing and plenty about most everything else.
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Songs are often character studies.
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My strongest hope is for a cameo as a band playing in a club visited by the detectives on 'Law & Order: SVU' during the course of an investigation, maybe during sound check, or something, so they can force us to stop playing while they question the sound guy.
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I want to make sure people know I don't think I have any magic powers. I just have a story that I share.
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'Heel Turn 2' is about a person who's in a match, and he's playing as though the match were real. But it is real! If you're standing in the middle of a ring, and you're playing the villain, and everyone is booing and throwing things at you, that's real.
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A song is fire. You react to it primally, instantly. You don't have to decide whether you like it, and you don't really have to sit down and think about it much after you're done listening to it. It really does run through you like wind.
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You want the song to be at least at the same level of goodness throughout. Whereas with something you're doing live, a song dips and rises and that can actually be worked to the song's benefit.
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A band's first album's usually not great. When you made the first album, you had a day job and you were still trying to be serious about it.
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I think there are some writers - like, if you read Kerouac, I think you probably need to take a little break before you sit down to the typewriter because he's the type of writer whose voice infects you.
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I am permanently a student of people who make great songs, but besides sort of learning by absorption, I just love listening to music, hearing what's going on, hearing new things or new old things.
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Opera combines pretty basic theater and poetry, but the storyline itself is actually quite poetic and, after some digital research, taking that actual content and seeing it as undeniably poetic.
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I think, taking too long to work on a record, you sort of lose some of the feeling, so I write as fast as I can; it's just this manic phase where I'm by myself and or on tour, and I write, and I write.
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Your creativity before it gets formed into words and songs is the actual substance. No one else can see it, right? Unless you give it the shape of a song or a painting or whatever.
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If I go see a band, and they play, like, zero from any of their old albums, I'm very happy about that. I do not want to see the bands of my youth playing the songs of my youth. I hate that.
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Back in the '90s, if you did mail order in music, you could make a good living doing it if you could hustle.
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As an idea occurs to me, I'll either follow it or not, but I'm more instinctive than master-planner about stuff.
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A Cat Stevens record isn't just Cat Stevens' ideas. It's Cat Stevens and all the musicians who play with Cat Stevens, right?
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Adulthood is interesting to adults. But I would never want to write about stuff I don't feel everybody can connect to.
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When I'm writing a song, I'm just making stuff up as I go along.
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I think the self is complicated, that at various times we are all various people, and wrestling actually does a lot with that. You have things like heel turns where a person goes from being a good guy to a bad guy.
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I was writing poetry, and the Mountain Goats was an outgrowth of that.
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For years, I've written narrators who aren't gender-identified. When I do autobiographical stuff, that's different, obviously. But I've always tried to keep my songs as potentially not a man's thing.
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I hang out and sign records for an hour or two hours every night, and I like to hear as many people's stories as I can, because if somebody wants to share their story with me, I want to honor that.