Recording Art Quotes

That's the life, really, isn't it? You write. You record. You play. And it never grows old.

So the recordings were these immersive landscapes, and yet, unlike the performances that almost no one would see, I had a sense that these could live forever. I was just starting to get my head around the democratic aspect of art; I didn't want to make rarefied things that were either alienatingly obscure or elite and art-worldy, so a recording that anyone could buy was a great medium.

At the end of the day, you're just phonograph records.

Age don't count in the booth.

Every record is a portrait of the band at that time.

I love making records, and part of really doing that and being happy about it is just that each time I've done something, I come to terms with what maybe is wrong with it, and then I move on to the next thing.

What happens with writing a song and demoing it, for me the demo always becomes the master.

I feel like records are moments in time, a modern moment that feels right then and it found its way to us then, that minute. We can all try and repeat records we have made that had success, but it's not possible.

I feel like the live record thing is something that I've been getting used to as the years go by and with this being my second one, I'm continuing to learn what works and what doesn't work. A live record is an example of that authenticity and that realness that you find in imperfection and you can hear that in this record.

You could make some great sounds with technology. That's what recording is all about. What happens in the studio is very magical, and should be, in my opinion.

To capture sound is to isolate a moment, canonize it, enter it into the historical register.

Selfishly, I make music for me. I like to make music. I like looking for songs. I like working with interesting musicians. I like producing records. It's something I will always do.

I wanted to make a classical piece that was actually designed to be a CD, not designed for performance.

There are loads of bands I'd love to produce.

Money definitely does not equal success in recording.

I'm very conscious of the fact that I devoted my life to recording music, recordings and writing songs.

I love playing live and creating these records that people are so into.

I feel that performing is its own art form, and recording is its own art form, and writing is its own art form, and that they all can happen simultaneously but at different paces.

I do feel that now and I feel that this development of recording poems, of speaking poems at readings, of having records of poets, I think this is a wonderful thing. I'm very excited by it. In a sense, there's a return, isn't there, to the old role of the poet, which was to speak to a group of people, to come across.

That's the strange thing about making a record. You can be in one mood for an hour, put it on a record, and you're remembered that way.

But really important, perhaps most important is the craft; how you make your record, the creation of these sonic worlds you want your listener to hear.

When I first had a video camera to document a performance, it was in Sweden and I remember it was really crucial for me.

I look at making records like you make a dish. A culinary experience. The way you throw in a tambourine, it's like spices or herbs. The main part of the song is the stock.

There is a brief moment when all there is in a man's mind and soul and spirit is reflected through his eyes, his hands, his attitude. This is the moment to record.

A record is something that isn't real or true. It's like cinema. It's a construction of something hyper-real and surreal and unreal all at the same time. You make a space that doesn't really exist. One of the big joys of being in this line of work is building the recorded versions of the songs.