Pegi Young Quotes

Cause when you're sequencing a record, you want the listener to stick with it from beginning to end, and in order to do that, you really have to map out the journey from the first song to the last.

I find that albums generally tell a story. Because it's music, it doesn't have to be in chronological order.

In my opinion, an album has a story from start to finish and has a concrete concept.

I've waited for the day my debut album is released my entire life, so naturally I've designed it to be listened to from start to finish - so every song flows into each other in a way that tells a sonic story.

My favorite records are, like, The Pretty Things' 'Parachute' and 'S.F. Sorrow' and The Mothers of Invention's 'We're Only in It for the Money' and The Kinks' 'Village Green Preservation Society' - these records that have a story - even if it's not a literal story - because of how they're sequenced and flow. It's like a novel with sound.

Through the music I hope to give it an arc that gives it a greater sense of a journey through the set rather than a bunch of songs.

For a song cycle to work, you have to feel these things when you hear them and you either have an emotional reaction to it or you don't. The plotline is something that gets woven together in the back-story.

I try to tell a story musically in a song.

I wanted to make an album that plays from the top to bottom and feels together and complete. That's just something that felt important.

One of the important things when you're making a record or doing a performance is the sequence of the songs. It really matters a lot because you want your project, your show, or your albums to sort of have a life.

Music is a lens through which to see who we are. Every phrase of every piece of music is trying to tell a story.

When you play a violin piece, you are a storyteller, and you're telling a story.

I hear music as narrative.

I like it when songs develop in some way. Four minutes usually isn't enough time for something to develop musically.

I realized at a young age that sequence in an album is almost as important as the songs that are on the album.

Albums are chapters. They're part of a story.

I remember I heard it in an interview with Michael Jackson one day, saying the art is gone, everybody makes records just to make a record. See, I always want the artist that try to build a whole body of music on one album, so you can enjoy it. So you could say, 'I went with him here, I went with him here.'

All of my favourite albums have this incredible amount of conceptual glue to them, even if they are not telling a story.

It doesn't bother me when people try to deconstruct my songs - because at least they're looking at the lyrics, and paying attention to the way the story is told.

It's easy to make an album full of great songs. But I want people to go for the ride. The songs have to make sense together.

Conceptually, I've always gravitated towards arrangements that weren't just presenting one idea. I like to look at my songs as having a main part, an interlude, and almost like another song at the end.

Most records are usually not united by one specific story, but that seems to be something that I like and that I find easy to do.

I will say this: I've always sort of had maybe an inflated sense of my ability to sequence songs in a narrative flow.

All I'm really interested in musically is trying to make concept albums. Serving a larger sum than the parts.

One thing that I've often done under the Projectors is build an album from a central conceit.