We had cut ourselves free from the security of day-job life. The goals became primarily financial, at least for a while. That was the roughest time we had ever had as a band, because that was the first moment we realized that this was for real.
BEN GIBBARDYou can’t please everybody all the time, but I think for the most part we tend to maintain a healthy level of self-reference to kind of make sure we continue to push things forward.
More Ben Gibbard Quotes
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We wanted to be like R.E.M., but the reality is that 15 years after R.E.M. was putting out those records, the playing field had changed drastically as well.
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I couldn’t wait to go on tour back then. I would be sitting at my day job or my apartment, just itching to go. There were so many adventures that were about to happen.
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As a songwriter, I’m not necessarily writing about myself or my life.
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I kind of dropped a lot of bad habits about three years ago and became kind of accidentally straight-edge. I don’t have Xs on my hands, but I guess if I wanted to go back to calling myself straight-edge, I could.
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I feel like there’s a lot of beauty in the darkness of ‘Narrow Stairs,’ but that’s not really a place I’m ready to go to for a while. I’m interested in taking a different approach and having the next record be different in tone – I’m just not interested in making another dark, dark album.
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There were two recording studios in Bellingham. One was really expensive, a “nice studio.” We were at the point where we were young and irreverent.
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We always idealize the past because we don’t feel the painful stuff the way we used to.
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You can’t please everybody all the time, but I think for the most part we tend to maintain a healthy level of self-reference to kind of make sure we continue to push things forward.
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I can remember sitting up in guitarist Chris Walla’s bedroom and for the first time in my life having this realization like, “Maybe I can do this. Maybe I can make music that in some capacity people will enjoy and come see me play.”
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We were not goofing around anymore. We all threw everything we had into this in a way where we all found ourselves really far from home, and we were stuck with each other.
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There are the people that are like, “I want it to sound like the last one.” You can’t please everybody all the time, but I think for the most part we tend to maintain a healthy level of self-reference to kind of make sure we continue to push things forward.
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Every record we do there are always two camps. There’s the camp that’s like, “I love it. It sounds different than the last one.”
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Our band is very polarizing. There are people who absolutely can’t stand us, and people who absolutely can’t live without us. I’d rather spark those kind of polar-opposite feelings than have people be indifferent.
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Anything was better than going to work. All those early tours before we made any money were more like vacations. I don’t think it was until 2001 that we pulled our heads out of the sand and were like, “What are we doing?”
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I’d like the songs to be more storytelling, but also have the turns of phrase within them that would hopefully distance my writing from the pack.
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The songwriting of Hall & Oates is deceptively complex. There are a number of key changes that pass you by as you’re listening to the song because they’re so seamless and clever.
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The story of our band is that we were this relentless touring band in those early years. We were leaving day jobs and going off on the road and having fun and seeing the country for the first time.
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I feel that we are currently living in a world that is similar to late ’50s, early ’60s kind of world.
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An ex-girlfriend once got upset when I told her that music is the most important thing in my life. It’s more important than anyone else could ever be.
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The second ‘Postal Service’ album is threatening to become the ‘Chinese Democracy’ of indie rock. It will come out eventually, or maybe it won’t.
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I don’t think I was doing anything poorly at that time, but I can certainly see how my writing has changed.
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I’m not like a 90-mph fastball kind of guy, but I can hit 70 on radar gun.
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I think sometimes a narrative can come out of a single word.
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Nada Surf and Harvey Danger are good bands. I think they’ve just stayed true to why they play music in the first place, it’s just because they love doing it and they love each other and that’s the impetus for doing it, not trying to keep singles on the radio and on MTV.
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I’m starting to relate more to the late-period Kerouac stuff in the way that I once related to the fun and excitement of the early material. There’s a darkness inside of me that I’m only now starting to come to grips with and accept. And it’s starting to scare me.
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At this point in my life, I find myself obsessed with alternate paths I could’ve taken. I don’t think about this with a sense of regret, but with a sense of wonder.
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