Washed Out Quotes
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Travelling is really great for giving you tons of ideas, but it's really hard to actually record anything on the road.
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I know of some guitar-based rock bands that refuse to record anything that they can't play live. But some of the best stuff I come up with are studio-based performances - bringing out whatever accident I had in the studio and building a song around that.
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I definitely enjoy my time by myself - and that's kind of the weird thing about touring; you're kind of constantly surrounded by people - but I actually do enjoy going out and doing things and being around people.
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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 took piano lessons when I was really young, like five years old, and I didn't really enjoy that very much. It was kind of too strict. So when I was probably 11 or 12, I started playing guitar and just kind of taught myself.
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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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I come from a background of hiding everything behind a computer.
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You hear ten seconds of a song, and you know it's OutKast. There's a strangeness about it because it's catchy, but it's not just pop for the sake of pop. They're pushing the envelope.
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For the most part, the real work is done in the songwriting stage and recording; the next step is presenting to people.
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I was definitely the kid in the back of the class with his head down the whole time not wanting to speak up and say anything.
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I definitely enjoy the kind of magic that happens being on stage with a group when everything's working. The vibe when that's happening gets even better if the audience is involved and you can feel that interaction. That's something you don't get with your headphones on in a studio; it's much different.
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I love listening to pop radio.
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It's a weird dynamic - I guess there is a fine line between hope and sadness. Sometimes you can be feeling both at the same time.
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I've always, in some way, incorporated sampling into my work.
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I remember at one point, with a previous release of mine, I stumbled upon a shareware site, and the total number of downloads was in the thousands, maybe the hundreds of thousands. But there's no doubt that the Internet and that kind of sharing has been a huge benefit for the band.
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I listen to a lot of different kinds of music, and I feel like I can pull ideas from practically anything. You name it - I'll probably like it.
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When we're back home, I feel pretty domesticated.
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I have a small studio set up in my house in Athens. I'll wake up, have a nice breakfast, and I won't surface until dinnertime. I'm very domesticated in that way.
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A lot of the early Washed Out material was done on a couple of synthesizers that did most of the work, but that's the great thing about synths - you can recreate sounds or make an entire record with just one piece of gear.
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Over a year's time, I felt like I squeezed in five years of touring experience, which was a really huge help moving forward.
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Escapism or nostalgia, for me, is not about having a terrible life and trying to get away via imaginary ideas or something.
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I normally start at the computer with something really simple like a four-bar loop of a drum sample or a bass line. And then I just start adding layers of synthesizers.
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One of the great things about music is how it can take you places.
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I just have the normal ringtone, unfortunately.