What could be more experimental than me writing a straight up love song?
BRADFORD COXMy entire education in music was in reading interviews with bands like Stereolab and finding out about Brazilian music or a Romanian composer. You expose yourself to what people you look up to admire.
More Bradford Cox Quotes
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I played the theme from Twin Peaks on a little tiny Casio keyboard. People politely applauded. I just fell in love with that song and thought it was very heartbreaking.
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They had it at the library and I always thought that was interesting, even when I was into punk and stuff. Just the history of storytelling and the amount of melancholy a lot of old music has.
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Usually I’m not really conscious of what’s going on. I don’t have a lot of memories onstage. At all.
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Musicians and artists are not… it’s not like politicians or something where you can’t really affect them.
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I read a lot – surveys of vernacular music. A lot of it is the Harry Smith Anthology of American Folk Music, which I’ve loved since I was in high school.
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I think people are intimidated by me, and I don’t know why. Sometimes even my own bandmates can be intimidated, or irritated, by me.
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I’ve been going through some personal things that have stirred up a lot of old wounds.
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Sometimes, I do have something to say, so I’ll sit there and I’ll write a song to someone – and then I just throw it away because it makes me cringe.
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Talk to Arto Lindsay and I’m sure he’s tired of people asking him about DNA; he’s probably really into what he’s doing now, which is good stuff.
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I see a lot of people doing an “’80s thing” who weren’t even born until the ’90s.
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I don’t have the capacity to write stuff consciously. When I do, it’s really awful.
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My entire education in music was in reading interviews with bands like Stereolab and finding out about Brazilian music or a Romanian composer. You expose yourself to what people you look up to admire.
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Contrary to popular belief, maybe, I’m a really friendly guy, I guess, and I really like meeting people. And I’m not really super impressed even if you’re my hero.
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I like playing at public schools. I like when there’s more of a diverse audience. I’ll play wherever people want to hear my music, and I’ll be glad and grateful for the opportunity, but I’d rather not play for a bunch of white privileged kids.
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The first thing I think I ever played in public, aside from singing in church, would have been – and this is a true story – when I was about nine or 10 years old, I was obsessed with Twin Peaks.
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I always write the first and last song of an album first, and then the middle just kind of happens.
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I’ve been going through a lot of… stuff. I need some space, which people were very kind enough to give me, and I feel really gracious about that. Nobody forces me to do things or say things or do interviews.
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You’re always as a musician trying to shock yourself or create music that’s maybe even too weird for your own taste.
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I don’t have anything to prove.
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I’m a really friendly guy, I guess, and I really like meeting people.
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For me, experimenting involves traditionalism.
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I don’t like the sound of my own voice. And, for people I don’t know, their impression of me is what they read on the internet, and they’re so far off a lot of the time.
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I like my solitude, and I’m a strong-willed person; I’m a very hard-to-be-around person sometimes, I guess.
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You’re not necessarily listening to the band and thinking about the lead singer, or the story of the group, or the context or the mythology of the group. You’re just listening to the song and whether or not it has a hook.
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When money and fame happen too late, it’s like pouring kerosene over a fire of self-loathing.
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A song like “Walkabout”, it’s totally imitative. The goal of that song was to make people happy, and I’ve never really made a song to make people happy before.
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