Justin Vernon Quotes

There are certain songs that are sacred. People want to hear them just as they are in their head; they don't want you messing around with them. And then there are some other songs, if they've been around a long time in our set list, that I think we can take some creative liberties with.

Shellac was asked to do a recreation of our first album, but we've always been a band that improvised our sets. That's critical to the way that we function on stage. Whatever the mood takes us on stage can vary from night to night with what you feel like playing.

In some ways, when you re-envision a song like that ["Never Be Mine"], there's a completely different energy to it each night.

I've already done two cover albums. I don't know, maybe it wouldn't be a good idea to do another, but I just did the Led Zeppelin song for fun, and I thought I could do it kind of quick since songs that I love a lot I can do fast.

I'm not beholden to the public, and neither are the public beholden to me or my songs. I'm very much of a populist on those terms, I believe that the song is no longer mine anyway. I like to process the dispossession that happens when you play something live. I don't have a clue as to how these songs are going to plan out, whether they're going to be on a record. I don't know yet.

I still perform because it's a necessity for my innards. And those songs, some of those songs, I have sung, I don't know how many thousands of times. And I promise you, every single solitary night, they're new to me. They are brand-new to me that night.

We're all about trying to play better every night, not just singing hit songs ... we ad lib, and every night there's jamming .. it's almost like the Grateful Dead meets Buck Owens some nights, because we'll go off on little adventures and sometimes we do crash the bus!.

With my solo music, I really try to step out of the box and do stuff I don't get to do with the boys. I wanted it to be fun, rock-infused and try some new things while going back to my roots. "All American" the song is one of my favorites from the album, which is why I chose to title the album after it. To me, it's the perfect song to represent the feel of the album.

Sex offers incredible narrative opportunities and so many emotions are tied up in sex. Also, I mean, the erotic is always a fun creative space.

There are no limitations with a song. To me a song is a little piece of art. It can be whatever you like it to be. You can write the simplest song, and that's lovely, or you can just write a song that is abstract art. ... A lot of my songs are very serious, I'm like dead serious about certain things and I feel that I'm writing about the world, through my own eyes. ... I have a love for simple basic song structure, although sometimes you'd never know it. ... Most of the songs I wrote at night. I would just wake in the middle of the night. That's when I found the space to write.

There's a big song at the beginning [of Sausage Party], and that was really fun to do. It felt like we were living out a dream of being the South Park guys for a minute.

I don't know if I will ever get sick of performing a song called 'Feels Like Loneliness' from Evolution. It's inspired by one of my favorite songs, 'Fever' by Peggy Lee. It's got a jazzy feel to it and I'm always able to put on a bit of character when I sing it, which is fun.

It's fun to play characters in songs. I can just cheat a little bit... be this person for just a small amount of time and just help vent that idea.

When I was a little kid and I heard a song I liked on TV, I would jump up and run to the piano to try and figure it out by ear. When I was 10 or 11, I built myself a drum kit in the garage made out of empty laundry detergent buckets, old lawn chairs, paint cans, and old trash cans. And around that time, my parents got me my first guitar. A baby acoustic. I jumped between all of these instruments constantly to satisfy the ideas I heard in my head. At this young age, I realized that music would play a huge part in my life.

When I went to do "Carson" that night, they wanted us to do two songs, but we were a brand new band. "Conga" hadn't even hit the top 10 yet. They go, "Do you think you could do something that people know, because we want you to do a second song, but not two originals, because we don't want to lose the audience, just in case."

Playing live is about going for it .. it's about bringing it ... you should see a bunch of people trying out stuff, actually performing, instead of learning the record and recreating it note for note. I can't play the show the same way every night .. I really need to be in a creative environment, every night or I'll go nuts ... my manager accuses me of singing just long enough to get me to my next guitar solo - which is true.

Live shows are where I can just go off, I do the most. I can recreate songs live and take one element and build on that that for like 40 minutes and I like seeing people's faces when I'm making something live.

There's a universe inside your head - a place of pictures and passions, of songs and sorrows. It's everything you are - and it's an utter mystery.

I try to keep my characters raising more questions than giving answers. I don't want to leave too much on the table. I want you to have your connection and your secret understanding of the character.

Your own love story? Your paramour may have had lovers before you. But no one has ever loved him the way you do. No one has ever heard music. Not the way you hear it. The songs are beautiful vampires, asleep in your iPod, coming alive at night, aglow. You can have them on your hours, yours to conduct. Music shapes us and we shape it.

I'm a big proponent of letting songs tell me what they wanna sound like.

I love working on the fly when the writers come up with new jokes on show nights. It's exciting. I love it so much.

My mother wanted me to learn how to read music. She'd given fiddles to my two older brothers, but they'd rebelled. I came along and my father said, "Oh, let Peter enjoy himself." What she did was leave musical instruments all around the house. Whistles, marimbas, squeeze boxes, a piano and organ. By age six or seven, I could bang out a simple tune on almost anything. I developed a good ear, so I didn't learn to read music until I taught myself at age eighteen, 'cause I was hearing so many good songs I couldn't possibly remember them all.

My philosophy for producing a record is for everyone involved, including myself, to get out of the way of the song, and at the same time, listen to it as closely as you can, and listen to where the song wants to go.

I think I prefer for the listener to decide for themselves what stuff means, because I always hate it when I think a song is about a horse, and then it turns out to be about a damn trip to France.