Quotes About Album

I read the reviews sometimes, but I don't let it really affect the next album because, for me, when I approach an album, it's usually coming to me pretty naturally. It's not like I set out, like, "Okay, I'm going to write an album this month." It's more like I'm just always writing songs and eventually I start to realize that a group of songs sort of fits together, and I go from there in putting together the album and themes and artwork and things like that.

A really humbling experience that we've had was touring on Post-Nothing, was having people come up to us and tell that story about Post-Nothing. Especially as the tour went on, people saying, "I listened to your album when it first came out and I listened to it every day for the summer of 2009. That was my album for that summer; that was my album for this time in my life." When somebody tells you that, it's a pretty amazing feeling, and very humbling.

So we are not doing the traditional album, tour, album, tour, album, tour anymore. We're going to tour when we want to, regardless of whether we've got a record out.

I had no album title, and the album is like a journey in that it's a complete body of work. It's not just a couple of catchy songs and filler, so I felt that I needed to capture the essence of the album.

The guy we want to get is the guy who did the Aerosmith album which is coming out in two days, and a Chili Peppers album, and a couple of Pearl Jam albums. We want to get someone that will sort of bring out the high energy aspect more than the dreaminess that was on the last album.

We went to South America on a trip and all I had was a Robert Johnson album. So that's a definite influence on the album. My bandmates John [Stanier, drummer] and Henry [Bogdan, bassist] were interested in expanding their roles as writers, so that had a positive impact on the record.

I guess, a lot of people think is a long time between albums. It was needed for me. I went through a lot to get the album ["Wild Things"] finished. I actually went through a lot to even get the album started.

I know six years is a big break. But I never walked away from music. I never released an album because I wanted to do a different album, something I have never done before.

I gave the album [You're Under Arrest] to Quincy Jones and he loved "D Train". We couldn't call it "D Train"; it's called "MDI/Something's On Your Mind/MD2". That's on the album.

Yes, but I view Frank's music as fully composed. In other words, the arrangements can work for any idiom such as a rock band or an orchestra. Frank was a brilliant arranger and could make his music work in any context. He proved that tour after tour and album after album.

In those days it was pretty cut and dry. If you had a record company believing in you enough to cut an album then you had better have the ability to work the album on the road.

When I get ready to do an album, that means I have something to say for the sake of words, and I listen back to all of the things I've been creating and pull things from out of the air to go with them. It's almost like I start creating the album before I even think about creating it.

I think the best post-breakup album is The Strokes' first album. It's just fun.

Most people don't take some things into consideration. When they hear an album, they hear the artist or they hear the lyric or they hear the melody. But they don't really think about the environment in which it was recorded, which is so important. It's that thing that determines what the album sounds like.

The album for Fiddler really took off. I think it was a combination of John Williams and the score. It was a very classy big album.

I recorded this album in a windowless room in Brooklyn by myself. I think Chamber of Reflection sums the album up better than Salad Days to tell you the truth.

When someone is buying a sample-based album, they are investing in the concept of that album. If they really like the original source material, they can go buy it.

There's no point that an album should sound like a watered down version of another album.

There's an album by Antonio Carlos Jobim - the album with 'The Girl From Ipanema.' That's the most seductive music ever.

That was an idea of the record company, and also that was my first album after MCA and we wanted to come back with a strong album that would be noticed. If we put the vocals by very talented people and very meaningful songs, then the vocals would be a platform so that I could be noticed again. All of the MCA albums were just loaded with problems -- you know, the right musicians, the engineers. The record company would say 'You have to make music for black radio, you can't do what you have been doing with The Crusaders.' Everybody was telling me that was over, finished, done.

I only wrote one song in jail. But I'm writing new album - you're going to feel the entire 11 months of what I went through on this album. I'm venting my anger.

It's not necessarily a church theme and it's not really about church. I like my album themes to be metaphors because it gives me the freedom to speak about something else that's going on in my life, so the Born Sinner thing is not about church, it's not even about religion. It's using that as canvas to get other messages across and that's what the album will be.

It's a blue album, but it's not a blues album. I'm not pretending all of a sudden now I'm blues.

I always wanted to make a cover album consisting of obscure psychedelic music from the 1960s - all re-shaped and customized, Ulver style.

I'm not sure I'm going to be that type of artist but I do love cultural icons. Like Solange has been really great at that. Releasing her album end of last year and being really strong in their sound, bands like Little Dragon, artists like James Blake. You know their music when you hear them. They have a really particular sound and it's really cultural and people copy that sound. You hear it in other songs and you're like 'That's a James Blake tune'.

I invested in the album. Look, if I never did anything again in music, it wouldn’t affect my life materially. I live a very satisfying life. Not because I’ve made a few dollars, but because I have a wife who loves me and children who wait for me to come home. And that is beautiful. I think that’s the American dream: to be at peace at home.

In art school, I started to see Pettibon in magazines, and I figured it out backward. I was into the idea that someone could show work in galleries while making album covers and photocopied books.

The only thing I ever really wanted was a Strat .. I started playing guitar after seeing Jimi Hendrix on TV the day he died...then I got Deep Purples' Fireball album which was also a big influence .. I have a collection of more than 200 of them that includes Strats from every year since March 1954 - the first month the Strat was made

I listened to my first comedy album in 6th grade. It was Bill Cosby. My brother and I would play it over and over on a Fisher Price record player. A friend in high school also introduced me to Richard Pryor. I wasn't writing material back then, but I would say funny stuff. I was good at making fun of people's moms. If I knew something personal about you, it would be used against you.

It would be really nice to be able to put out releases that wouldn't be conditional upon an album format, and just put out music in different ways.

I grew up in a very musical household. My brother had KISS and Van Halen records, but my parents loved country and show tunes, so I had all of those records when a kid. I pretty much knew exactly what I was going to do at a young age. I loved album covers, I loved listening to a record and staring at the art while listening to it. When I got older and discovered paining, drawing and PhotoShop, I was able to do both simultaneously; I enjoy making both.

A sister is the cure for swollen heads and ego trips. One may a star, a Chief Executive-famous and rich and beautiful. But one's sister has the family photo album. And a long, long memory. And a tendency to wink at one on Top Occasions.

It was always a great challenge: how can I make a dreampop album that's still very Alcest, but not a ripoff - how to keep the core.

Jimmy Page is an excellent producer. Led Zeppelin I and II are classics. As a player he's very good in the studio, but I've never seen him play well live. He's sloppy. He plays like he's got a broken hand and he's two years old. If you put out a good album and play like a two year old, what's the purpose?

From day one when you're singing, you're dreaming about making that first album and making your break into whatever music you want to break into.

I was writing before I met Rick and actually I created the band before Rick Finch. Basically, the first album, I wrote. Who's to say what would've happened? Rick was very talented too.

I play drums and guitar. My best instrument is definitely drums, so I'm featured a lot on the album drumming. It's pretty futuristic as well.

The first Van Halen album makes Johnny Rotten out to be what he really was and still is: a hairdresser.

But I've got to think of myself as the luckiest guy. Robert Johnson only had one album's worth of work as his legacy. That's all that life allowed him.

My days are kind of controlled by my projects, so sometimes they're album covers. Sometimes they're commission portrait shoots. Sometimes they are editorial, so it kind of - I don't dictate it.

The album was very agressive. It kicks you right in the balls.

I don't want to put 12 singles on an album. I want to make a story, a little movie.

We're not the kind of band who writes an order abundance of songs and picks from them, we usually write for the album.

My favorite track from the album Independent is Hold On. Everyone at some point fights battles or has struggles, and in moments of doubt or defeat, this is the song coming from a place of never giving up. It makes me think of the angel on the shoulder voicing understanding but guiding you in the right direction to take you out of that dark place.

I tend to just do whatever I want on an album and try to make it work. I'm just adventurous. It's most exciting to be at the edge of your abilities. I want to see how far I can push things.

Recently, I've been working on anew album of material, which should be out in the new Millennium. I'm not sure which song will be put out as a single, but I'm still hoping to get another record in the charts.

I can write songs, but I'm not gonna really feel good about the song unless it feels like me, and I'm not gonna release a song or put it on an album or play it in concert unless it really feels like me.

The second album of Black Mages is currently in the process of recording and the basic tracks have already been completed. Hopefully sometime in the future we will be able to have a concert.