The National Quotes
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For me, the exhausting thing about touring is the sitting around, which is why working on my concert music is really great - and also seeing concerts and seeing friends and, whenever possible, getting out to see a museum.
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As little boys, my brother and I used to spend hours with my grandmother, asking her about the details of how she came to America. She could only give us a smattering of details, but they all found their way into our collective imagination, eventually becoming a part of our own cultural identity and connection to the past.
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The lyrics are what I work on the hardest, but I'm not trying to make a perfectly clear message or anything like that. In fact, I'm usually trying to avoid saying something too directly, because usually that rings false anyway.
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I'm a stubborn guy that loses his temper, sometimes driving the station wagon in the wrong direction for hours and hours and never admitting that he's gone the wrong way.
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I don't play an instrument. I pretend. I try to.
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We've played in places where there were more of us onstage than in the audience.
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If you make rock music with guitars in it, the Radiohead comparison is inevitable.
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I don't love being on the road.
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I do a lot of editing and switching around and putting little pieces together to get the right mood and personality, and it takes me forever to get a song finished.
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The thing I realised about composition is, we remember most composers for four bars of music. Four singable bars of music. Pretty much any major composer from Debussy to Ravel to Mozart to whoever else - you can kind of hum it.
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Inviting artists to do something, you want it to be a place where they're going to feel challenged and excited and that will maybe open up some new doorway in their own lives or their own creative practice.
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'Alligator' was the first record that anyone paid attention to, and it seemed like it was the screamy songs that got us that attention.
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A lot of the lyrics I write involve images that just swing the song in a way that feels really good to me and there isn't a literal explanation. They're not riddles for the listener to solve.
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A lot of my lyrics are approximate meaning without me knowing why they sound right.
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I call The National my family, and I'll be doing that as long as I want to.
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I think that place is a huge part of pretty much any musician's work, in how one responds to an environment, whether it be your actual surroundings or the more figurative place we're all living in.
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David Harrington, who's the violinist and founder of Kronos, is a super open-minded and adventurous guy.
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Musicians are hungry for new music.
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You don't come to our shows if you want to look cool.
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In terms of the music, it feels almost like trouble's a good thing - you never know when a song is going to surprise you. We look for these subversive moments in songs.
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Getting on stage and performing and standing under lights is such an unsettling experience - in a good and bad way - but it's the only place I can go to feel comfortable.
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Art is a way of life.
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With 'Boxer,' we made the kind of music we wanted to make and didn't really worry about what the expectation was.
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There is a kind of adventure- and risk-seeking audience in classical contemporary music that is really empowering and part of what draws me to it. The people that come to these concerts are open-minded and curious.