Bjork Quotes

I doubt I'll ever pay someone to do a remix again, because there's some amazing stuff just coming out of bedrooms.

People don't make albums any more. It's always about singles. I wanted to take that old-school approach.

That's my dream job, to be able to mail songs out to people who want to hear them. Paste my face on them and not travel all over the world trying to sell them.

The point is, technology has empowered so many musicians, you know?

Artists have so much more control of their futures - they don't need to rely so much on major labels or big companies to help them. You have artists like Skrillex that can dominate so much that he gets 5 Grammy nominees, and he's clearly an underground artist.

With the new ways of getting music out, you don't need a label if you're a legacy artist.

My ambition is we want artists to be able to afford to create the music they want to create, and if it takes them five years to sit down and make the album they want to make, they should be able to afford that. That's my goal.

I wanted to go back to writing for myself and my fans. I built my own recording studio, started my own label, and decided to use the Internet to sell my records.

That's what I love about the Internet - instead of having to wait on radio to play your song or TV to play your video, I can use the Internet as a tool to get my music out earlier.

I put some songs on the Internet back in 2009 - that's kind of how everything started with Washed Out. I had never really planned on being in a band or anything like that. It was kind of a hobby I did on my own, just recording music.

Now anybody can make music at home, and you can hear music on any computer without having to buy it. Everything is apparently better with all the machines we have now, but at the same time, the quality of life is not improving.

When me and Eric did songs back in the day, we didn't go and sit down in front of no A&R. We made our album, and then, when we finished, we handed it in, and then we picked the best song for the first single.

It's such a changing industry, and I realize that it's become more digital- and singles-driven, but I still love listening to a full record. It's the artist's story captured in 12 or 15 songs.

What I love about making albums in the 21st century is that so few people buy albums! I can make an album without any commercial concerns whatsoever.

We have recorded songs on the same day that were released years later in other albums.

Every time there's a list of the 100 greatest records of all time, all those albums were recorded in two days. Hardly any of them took a year, I'll tell you. In this day and age, I think it's important that people know that.

If you're 20 years old, you've grown up without buying albums.

I feel that puttin' in the hours and years in the studio, honing my craft, definitely played a part, me consciously networking and presenting myself as an artist that's commercially sellable led to me meeting the right people, which in turn led to them givin' me positive referrals to other people, which in turn led to me signin' a deal.

A big part of making an album is that you want to have enough material - you want to have enough stuff for people to hear and know that it represents you.

I used to make albums because I wasn't touring, and so I thought, "This is the best way for people to find out about me.

I want people to be like, 'Your album's just as good as Kendrick [Lamar]'s or Esperanza Spalding or Beck. I work just as hard as them.

I've been arguing with people for 10 years about tape versus digital, and I believe tape is absolutely essential in getting the sound that's conducive to the enjoyment of music.

As people buy less and less records, it's become more and more important for me to spend more and more on them - to lavish that much more attention on them. The Bad Seeds were always quite protective and old school, but Grinderman has opened us up to do anything and be shameless. We're not so precious about it.

A big part of making an album is that you want to have enough material - you want to have enough stuff for people to hear and know that it represents you. So it does sometimes turn into a situation where you're saying to the person you're working with, "Well, what do you want?" But then there are other times when I work with people and they'll turn to me and say, "How do you want to do this?" And that's actually when I work best.

A lot of musicians like to do the bass and the drums with analog and get that tape distortion that's really beautiful. As far as the digital world goes - it's all going to end up there anyway, but when you hear vinyl it does a different thing to you. Nowadays, people do CDs and then vinyl so it's everything goes; it's a such a beautiful world.