Quote of the Week:
“I hope GQ as a magazine fails. I hope that all of these people who make a living by looking pretty are eventually made destitute or forced to do something of substance. At least pornography has a function.”
“People put stuff on YouTube or torrent clients or whatever, not because they’re going to make money off of it, which is the only reason the mainstream industry would do something, but because they think it’s good. It’s a like a worldwide mix tape.”
My Take: It’s like Hustler interviewing Noam Chomsky!
MUSICIANS DIDN’T MAKE THE MUSIC INDUSTRY!
MUSICIANS ARE BECOMING TOOLS TO THE INDUSTRY!
MUSICIANS NEED TO WEED OUT THE PEOPLE WHO AREN’T DIRECTLY INVOLVED IN THE ACTUAL PROCESS OF CREATING AND PLAYING TUNES.
Fucked Up’s sentiments expressed in three lines.
Jared Hondo Isaac Swilley says it all the time, but Beach House’s Alex Scally knows what’s up as well:
Since we started in 2006, the only way we’d have enough time to spend on music is to tour constantly. I kind of like it … it’s not like we’re Black Flag or anything, but it’s like a manta for us that the only way to survive is to tour constantly because that’s income and that spreads your name. I’m into what’s happening: There aren’t supermassive bands, the way it was in the sixties when the major labels rolled out twenty things and you chose the four that suited you. People that make music aren’t these weird gods that have a ton of money. I really like that we have all these sites where we can post pictures and have discussions and weird personal connections to all these people. Ultimately, we’re very lucky to have stumbled upon this thing, to get this music out there, to have it to mean something to people. People are always going to find way to support artists so that they’ll live.
Check out this interview with Wu-Tang member GZA:
How did you end up collaborating with The Black Lips and King Khan?
Originally, it came about through my manager Heathcliff [Berru]. The bands were fans of Wu-Tang and I and we decided to perform together. It worked out well; they’re good musicians and we have a mutual admiration and love. The thing is, they were already connecting with me in some way first. I’d never heard their music before, but I was feeling it and when I saw both of those groups perform live, I knew I could work with them. The vibe was there.
Much of current hip-hop — particularly the more mainstream iteration — is characterized by glossy shiny-sounding production. Did some of your desire to work with the Black Lips and King Khan stem from the similarity of their lo-fi aesthetic to the beats you came up rhyming on?
That’s my problem with the stuff today — it doesn’t sound raw and uncut. When the Black Lips sent a track over to me, I thought it sounded like a Beastie Boys track, the way the singer was singing and flowing on it. He was right in the pocket. You don’t get hip-hop that sounds that gritty anymore, you get some Auto-tune, ping-pong computer-made and Casio stuff.
A lot of rappers have tried to chase whatever trend was hot, whether it’s Auto-tune or getting the hottest R&B hookman on a track, but you’ve carved out a different path.
I think it’s about being original and creative. You’ve got to be comfortable with yourself. There’s no set way to do anything. Sometimes you have to go outside the box, sometimes you can do things the standard way. Like you don’t have to have a beat to write a song, sometimes you can write lyrics without the music. A lot of artists think that to be current, you have to follow what’s out there and do something that’s so unlike what you normally do. It can work but it doesn’t if you chase it.