Washed Out Quotes
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For me personally, I'm always writing from what's happening in my emotional life. Even without thinking about it a lot of the time, it comes out in the songs that I'm writing.
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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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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 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 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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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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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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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 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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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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The way that I sing is very mumbled-together, and so I guess I'm kind of stuck with it now.
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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 love listening to pop radio.
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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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I come from a background of hiding everything behind a computer.
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The way I work is by infinitely playing a very simple loop over and over, and then I start layering things.
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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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I've always, in some way, incorporated sampling into my work.
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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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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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Escapism or nostalgia, for me, is not about having a terrible life and trying to get away via imaginary ideas or something.