I’ve always had a soft spot for Phil Collins. He’s a great vocalist.
BEN GIBBARDWe never sit down before we start making a record and talk about this new sonic palette that we are going to try to explore. We always let the record kind of reveal itself to us over time.
More Ben Gibbard Quotes
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A lot of the material is about the inevitable disappointment people feel as they move through life, and things don’t feel the way they expect. No experience will ever match up to the idealized version in your mind.
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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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We never sit down before we start making a record and talk about this new sonic palette that we are going to try to explore. We always let the record kind of reveal itself to us over time.
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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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I think sometimes a narrative can come out of a single word.
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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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We were playing Chinese restaurants and basements and record stores and houses. We were crashing on floors and it was all new and exciting. It was like a vacation. It didn’t feel like work.
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For me, a song doesn’t really take flight until it has a lyric on it. …Without a lyric that I’m happy with, it could be the greatest song ever melodically or arrangement-wise, but it doesn’t have any resonance.
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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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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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Death Cab is a militantly analog band. We’ll continue moving forward with our sound, but there will be no crossover.
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To set the record straight for the God knows millionth time, we certainly didnt sign to Atlantic just for the money.
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We had friends who had a hit single on the radio and sold 500,000 records, and then they couldn’t get arrested a year later.
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And it came to me then that every plan is a tiny prayer to father time.
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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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Bands who are in their early 20s today, they are living in their own time and they have a series of parameters they have to work around.
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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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Between every record, we all split off in our own world and we all end up listening to usually pretty different music on our own. We come together not really knowing what the other people having been really listening to and what’s been influencing them.
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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.
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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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Everybody has a language or code that they use with their wife or their girlfriend or boyfriend or what have you. It’s a language aside from the language they have with strangers.
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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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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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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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I’ve covered Avril Lavigne. I like good pop songs, and I don’t think there should be any kind of preconceptions about where good pop songs come from.
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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.
BEN GIBBARD