Washed Out Quotes
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Ultimately, what interests me is using exotic sounds in my songs.
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I naturally like that dreamy, shoegazey sound on my vocals. A lot of reverb helps, and so do a lot of delay effects on everything.
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I was at a slight disadvantage in that I had never played in bands or done any performances before, and that's just as important as writing, recording, and putting records out. It's been a lot of hard work, balanced with a lot of pinch-myself moments of touring in crazy parts of the world.
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When I first started writing songs, I never intended on singing. I didn't really consider myself a singer at all. I was just kind of recording the demo vocals as a holding place until someone else came and sang.
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I lived in a neighborhood where there weren't many kids. I had a couple sisters, but I was very much a loner. Whatever film I had seen that day or that week, I would completely find myself in that world.
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I get very bored easily. I'm a child of the Internet or whatever; I want more and more of new and interesting things.
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A lot of the things I was doing on the first couple Washed Out releases was very naive.
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When I'm not touring, I hardly ever leave my house. Part of it is I get to do what I'm most passionate about, which is work on music and make new songs.
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It's like a painter with various layers of paint. I start with a drum loop and add keyboards, and then melodies start to take shape. The vocals happen later. I've never really done therapy before, but it's a form of therapy. Everything else falls away.
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I felt like I was building this world brick by brick with each layer of instrumentation I was doing. I could see it growing in some ways. I feel like most writers feel the same way. You're almost living inside of this magic world that you're building.
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I think '80s pop music subconsciously informs what I'm doing.
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My first big influences were more hip-hop based - people like DJ Shadow and Four Tet.
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My music is a personal thing, and I feel like if I talk too much about the songs, or if there's too much of my personal life out there, it ruins it.
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I do have the personnel that we use in the back of my head when I'm working, but I also don't want to limit myself.
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I do try to structure everything in a way that's very much like a pop song. I try to keep the arrangements really simple, just to make everything essential.
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My parents live out in the middle of nowhere, in the middle of this peach orchard. It's actually Peach County, one of the largest peach-growing counties in Georgia. It's very rural, and there is nothing much going on, so I guess that's had a big influence on everything as far as just not having much to do.
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There are things I can accomplish in the studio via manipulation on the computer or some kind of effect that are nearly impossible to do live. On the flip side, there are some things that happen live that can't be pulled off in the studio.
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I have a little basement studio set up here at my house, and I do probably 80 percent of the recording here on my own. With multi-tracking technology, I can play various parts on top of one another.
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I come from a background of hiding everything behind a computer.
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When you work this intensely on something, the recording process becomes a bit like cabin fever. I shut everything out and, for a while, I totally lost perspective. To an outsider, I imagine the whole recording process sounds like torture.
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The types of melodies I tend to write kind of have this bittersweet quality; they're meant to be uplifting but kind of have this melancholy vibe to it.
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I like an even-keeled, slow-paced job.
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The thing that's good about music-making software like the DAW-kinda systems is that they're all generally the same; the kind of interface is normally laid out in a similar way. Depending on the program, the sounds might be quite different, but they tend to all have a drum machine or synthesizer or a sampler.
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I'm very happy in my life, but I do feel that music has a power to transport you to places or to beautiful moments in your past.