Kurt Vile Quotes

People don't understand the kind of fight it takes to record what you want to record the way you want to record it.

I tried for a long time to make DJ-able dance tracks that were more specific to the stuff that I was playing. Ultimately, I found I wasn't really capable of doing that. The only type of music I was able to make that really made me feel something would just come straight from my heart or straight from whatever emotions I was feeling at that time.

I think I prefer producing a little more than DJing because you have more freedom, you can make anything you want; it doesn't necessarily have to be four to the floor. You can go more with your mood, or the atmosphere that you're in.

It took a long while for me to even put out a record because there were so many options of how to do a song, and in some respects, I'm never totally happy with the outcome.

Make your own music. It can be done.

In many ways Bright Eyes is really a studio project. We form bands to tour, but it really is - you know, we take the songs and we figure out how to decorate them and it's all in the studio; we build the songs that way.

Normally, you go into the recording studio, make a record and then take it on the road and you think... wow... I could have done THIS to it, or something.

When we recorded our first album sixteen track machines were the thing.

I felt that the studio recording process makes you stand still too long.

Yes, alas, I've been on some recording sessions where the music wasn't good. Not so many, really, considering how many I've done. It's a very awkward situation because to do a recording well you focus on the positive of what will make the piece better.

Nowadays, I really like playing in studios.

I really believe that we're a studio-based band, and I have always thought that.

Well, when The Black Keys make a record, I never really feel limited. To me, it seems the possibilities are always endless. The big difference has been playing live and being able to recreate every little part of the record.

Ultimately, what we do as musicians, I think of us as a type of emotional engineer. We essential take these sound waves, this sound, and we organize it into emotion, and that's how we connect with our audiences.

I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.

I used to think that all great recordings happened at about 3 A.M.

I had to go into a studio and compose and write and press up 12 songs in 14 hours. When you're recording a song from scratch it takes you 14 hours to do just one song.

I have a recording that I did of instrumental songs.

The four of us couldn't have made a record with the time left over when we were shooting the show. We were on stage from 7.30 in the morning 'til 7 at night. Later on, when there was a break from filming, and we were sick of doing it the old way.

Usually, when you go in to make a record, you have 30 songs, and you record 30 of them, and 12 of them make it to the record.

My profession is called record production.

I'm on this eternal quest to get the best guitar sound in the world, but my vision of what is 'the best' changes every time I go into the studio. Sometimes my goal is to make my guitar jump out, and sometimes I want it to lay back.

With 'Elect the Dead,' I learned how to make a rock record without a rock band and make the rock record I've always wanted to make.

When I started out, even though you had your rhythm section, they were big horn sections, strings, live people laying on every part of the floor in the studio waiting for their chance to get on that one little track.

I could make records at home in a vacuum, but that is not the situation. I'm just taking it one phase at a time.