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I do retweet some of the things that people say about the things I've done, but I don't necessarily want to use it to promote myself because I find that it gets kind of boring. There should just be a whole different site for that. Because it's just kind of boring and gross to use it just self-promotion.
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I guess, from the beginning, Thurston and Kim were the dominant singers in the band, and although I was singing in bands previously, I guess I mainly deferred to them a lot in terms of who was singing the bulk of the songs.
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What Nirvana's success means is that certain radio stations now have their ear more cocked to bands like us; they're more open to playing more stuff.
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Signing to a major label was an experiment for us. It was a challenge: working in a big studio with a producer was a challenge in a lot of ways. It all shaped what the band went on to become through the '90s. After we made 'Goo,' we went out and toured with Neil Young in ice hockey arenas for three months, and that was the same kind of thing.
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As a rock fan, you read of the big labels and the multinationals and the big tours with road crews and semi-trailers full of gear, and playing stadiums. In the '90s, that's what we did.
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Being someone who plays gigs and finding many, many memorable ones in different ways, I guess I'd have to say I don't really have a single favourite one that I could pick out.
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During the whole time in Sonic Youth, I was happy to put my energy into that. It would have been very difficult to do a solo project.
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Sonic Youth has a very democratic process for the most part. It almost doesn't matter who brings in an initial idea; everything gets worked over by the band and kind of co-written by everyone in the end because everyone's ideas get contributed to it.
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I don't mourn the old, romantic, dirty Times Square, although it was more unique.
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We'd been on Geffen for a long time, and I think we felt that we needed a change. I just don't think we felt very close to the people at the label after all this time or that they understood what we were trying to do. I don't have any regrets, because at the time we signed with Geffen, it was the right thing to do.
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We always operated within a sense of community not just about the band. It's important to the way we define ourselves. It's the entire world in which we operate.
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One of the things I loved - or I love still - about this Occupy movement is it's got a very gentle core. I mean, it's really decidedly nonviolent in the face of all kinds of situations.
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We'll go in one direction with one album, and then we like to do the opposite right away. But it's not like we ever have an idea before we start - that would be too artificial. It all starts from just sitting in a room and playing.
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I've always been an acoustic guitar player, and I've pretty much continued to play acoustic guitar throughout all of the Sonic Youth periods. My material for Sonic Youth often started on acoustic guitar.
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Whenever I work on an album and the time comes to do all the artwork, the only thing I think of is the LP artwork. When we worked on the 'Electric Trim' artwork, we spent weeks and weeks making the LP artwork great, and then the CD artwork came together in a day or two. The LP is what's important to me.
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I always think that, for me, being someone who comes out of electric guitar experimentation, the idea of playing acoustic guitar is, in itself, kind of a radical move.
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Sonic Youth could never really get it together acoustically - quite frankly, it wasn't something we were really that interested in.
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We never notate our music, so you can try to replicate it, but you don't really have it.
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In the week following Sandy, we weren't flooded, but we were without everything else - I ended up living by candlelight - no phones, no computers, no light, no power. If we took a walk at night to go and find something to eat, it was completely black, with no lights coming out of the windows, no street lights: a very apocalyptic feeling.
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I've been lucky enough to be in this amazing band, and to me, a band is really a collaborative unit, and that's definitely been what Sonic Youth has been.
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One thing I always hated with CDs is when people started putting 65 to 75 minutes on their albums.
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I came late to Sandy Denny and Fairport Convention. I don't know why, but that's the beauty of music - songs and voices are there when you need them, when you're ready to find them, whether in their time or after.
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I've always played acoustically - it's how I learned. I grew up listening to Leonard Cohen, Joni Mitchell, Neil Young, Dylan and what have you.
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I don't really care about, Oh I really have to sell these things.