Quotes of All Topics . Occasions . Authors
My first concert was Third Eye Blind.
With each project I'm always pushing for clarity.
I used to obsessively draw. I was really good at it.
When I was in middle school, I loved Egyptian mythology.
You'd have to be kind of a bonehead not to feel pressure.
Arcadia' was started and finished at the Medici villa in Rome.
We are always in a state of flux, and taking risks is important.
I'm gonna really enjoy bringing out the catsuit once in a while.
Before I play a show, I put on lavender oil - it's sort of a ritual.
I want to keep different options for different futures open all the time.
Don't say yes to everything. Learn how to say no, because people respect a no.
Brooklyn is a hub; people move to Brooklyn because of what's already in Brooklyn.
I'm a horribly chronic 'get half way through the book and start a new one' person.
I think as I get older, I'm just going to start making smooth, new age music - no joke.
I think there was a real lane built for indie bands during the time when Chairlift came up.
There's this corporate machine giving us a chance to access radio - though there's no guarantee.
I really admire people's interactions with technology that aren't tech-centric but use it as a tool.
Growing up, I was so compelled by artists whose looks were inseparable from their music. Bjork was my hero.
Many of the elements associated with storybook mythology and gothic aesthetics are actually not expressive.
Playing to bigger audiences at festivals got me in the mindset of writing music that I would sing to a crowd.
No one goes to BrooklynVegan to read about content, they just go for drama. It's a tabloid, the scum of indie.
I was really inspired by this feeling of mania, a caricature of myself that I look down upon and see negatively.
So, anyway, I think the format of love songs for me stopped becoming about people and started becoming about life.
Being a musician, there aren't that many ways for me to consciously use a more strategy, math-based part of my brain.
I saw this wide-eyed girl with big ears and a pink nose who's too excited. I wanted that part of myself to sing lead.
Everything I've done that I'm proud of is everything I've been the most hands-on with, so I'm just following that, really.
The only thing that deeply frustrates me is the slow speed [of major labels]. The more people involved, the slower the pace.
I have an opera coach who I went to as a teenager, when I was 15 and 16 years old. When I went to college, I forgot about it.
I was actually really stunned that my label suggested 'Door' as the single to lead with, as it's such a long and winding song.
My mom wasn't thrilled about me being in a band, because she very correctly said she couldn't see any sort of stability in it.
I like listening to ambient music, especially in very scenic places because I think it allows for the most freedom of thought.
I've probably listened to 'Try Me' by DeJ Loaf 500 times. It's a little slower than your typical strut BPM, but it still works.
You'll see every kind of New Yorker in there. You really feel like you're in the belly of the beast when you're in Union Square.
I really like when the lyrics in the music have an interesting relationship between one another - where they contrast each other.
I guess I've gotten older and more sentimental, and I've realized that the love song is just the modern equivalent of a devotional.
I think women are taught in the music industry that once you're 35, you've expired, and I'm here to prove that factually incorrect.
Do not be precious about your music within your own world. Try everything you want to try; just because it exists doesn't mean it's done.
Panging is the kind of sharp pain you feel inside when you're reminded of some kind of unattended need or something that you've neglected.
Young people have realised that an artist is in charge of what they're doing - this crazy cynicism that artists were puppets has disappeared.
I remember thinking that writing love songs was stupid and cliche, and that my job was to not write love songs, because there are enough of them.
I think that's a big trope in pop music: the blaze-of-glory breakup. It's not one that I particularly identify with, but it's definitely possible.
Success will come. Or it won't. But I think you can only make a go at it in a big way by fully being yourself and taking risks. People can feel risks.
Well, I'm just a really sentimental person, and I just get leveled by things so easily, like from films, to personal interactions, to memories, to music.
Everyone in our generation lives in a world where you're surrounded by all sorts of music all the time. People's tastes are made of combinations of genres.
Driving in Chicago wins over New York; people are so fast. It's almost like there's a subliminal street racing culture here. They drive like comic book characters.
I almost gave up on 'Door' so many times. I couldn't crack it. It started out as a simple song with just a chorus-verse-chorus. I felt like it needed to transform more.
I would enjoy seeing anyone else sing 'Caroline Shut Up.' That would be interesting. I would give that one away, actually, which is funny, even though it's very personal.
I've definitely been in that situation many times - staying in a relationship longer than I should. I think there's so much of your identity that comes from a relationship.
I was into music from a very early age, and I was also - I don't really talk about this that much - really into horses. I learned a lot about rhythm and about voice from that.
One of the goals we had when making 'Moth' was to have the vocals sound less treated and less processed than we'd ever had before, to just let them be exposed and very audible.