Neko Case Quotes

'For Unlawful Carnal Knowledge' took a year to record; that's why the playing on it might sound somewhat labored. 'Balance,' on the other hand, was written and recorded in only four months, so the whole process was quicker and more immediate.

I'm an artist, and I go in the studio and make my music. And then I'll give it to my dad and he does what he does. And he does, you know, the press, and figuring out shows and whatnot. When it comes to my artistic freedom, he doesn't, like, step on my toes or anything.

In Mudcrutch we all wrote songs, and when it got to the focus on Tom and the Heartbreakers, I kept writing songs, but it wasn't anything that was up the Heartbreakers tree, I didn't think - and I don't think they did, either. So I kept writing songs for the hell of it, but I didn't want to make a record just for the sake of making a record.

There hasn't been one moment in my career where I felt I didn't have any control over the creative aspects of my records.

I've never worried about how a new release will be received. I simply try to do the best I can and leave the rest to the gods. The music industry in those terms is something I loathe and detest. It conjures up images of a gigantic factory spewing out parts of the machine.

Making records should be fun.

Being in the studio is like painting, you know, you can really take your time, and try different things, and kind of go deep into it.

I go in and sing the song and arrange it and mix it and that's it. It's no different than playing in clubs.

Making records is fun. It's not some big statement. You're allowed to make mistakes.

When you're playing in front of people, everything is external. It's all going from you out to an audience. When you're in a studio, it's very internalised, it's going from the air through you into this meticulously crafted, layered piece of work.

Songs are not on a conveyor belt. I'm not chopping them up and putting them out.

I work very hard on getting the songs as direct and examined as I can before I go in the studio.

Most bands have a sound that they're already identified with, so for the producer it becomes a process of helping them find their muse in the studio to make a record that will not only satisfy them artistically, but will also do something in the marketplace.

I don't believe in making a record and rushing it.

I'm going to put music out when I feel like it's ready.

I definitely like making music in the studio, but I never had it out to make a CD specifically.

To me, I don't care if I co-write or if I write alone. If it's a great song and it makes it to the record, then that's what is supposed to come, you know what I mean.

I pick and choose what I want to put on what. Instead of just dropping a single, I like putting projects together.

I've always been hands on with my music and my movement.

Normally doing an album you go from track to track and go, 'Let's not work on this one today, let's go work on the other one,' and I think you tend to get more self-indulgent that way.

For us, we make a song, and if we like it, it goes on a record.

That is the most important thing to me, what happens behind the closed doors in the studio and makes me an artist.

There are those people who try to change what you're doing. We don't like that. When we went into the studio for 'City of Evil,' we had 99 percent of the songs finished and ready to record.

I made a conscious decision when I was recording 'Acoustic Soul' to - and this is one of my mantras - follow the music and let the chips fall where they may.

We've been fully involved in making our music, and to be personally involved is what we really asked for.