Musical Cohesion Quotes

There's a sound with Motley Crue, and it comes with Vince's voice, which is such an important part of the show, and Mick's guitar. And the way Tommy and me play together is an important part of it.

I feel more confident about what we're doing as a band and what we're trying to do as a band and the way we're looking at it as a band.

Most musicians count at the beginning, and never count and talk to their musicians after that. They only talk to them at the end of the song. But I would count with them and talk.

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

I've been asking myself: 'Why put together these things - CDs, albums?' The answer I came up with is, well, sometimes it's artistically viable. It's not just a random collection of songs. Sometimes the songs have a common thread, even if it's not obvious or even conscious on the artists' part.

Drummers are conductors - we set the pace for the music - so if you're not relaxed and feeling right, the whole thing goes out the window.

And if you are playing in several meters at once, there has to be a - not a rigid - but there definitely has to be a reference to a common pulse in the band.

The crews that are going to be self-produced are going to make the great albums, as opposed to making these mix-tapes, these compilations - "Me over this guy" It sounds good individually, but the art of the record is something that is lost. It gets to the point where it's just vocalists and producers coming in and piecing things together.

Innovating something that is familiar. That's the general approach, and that's what I want to do with the melody as well. It should ring true - you should like every melody sequence without knowing what's happening next.

I was never the brains behind the band - that was always Liam. But together we were a complete package.

What I appreciate about Radiohead's work - and it's most evident in 'Hail to the Thief' - is how the juxtaposition of narratives on the band's albums somehow creates a sense of wholeness.

Anything that's resolvable is boring, musically. And if it's too chaotic, you don't feel tension; it's chaos.

I like to think about stringing songs together like a string of pearls, or a string of beads, but ultimately it has to be stuff that really works with the band, and gives a spin to the older material.

I really like a lot of different music, and it's taken a while to make them all work together as a unit.

So, I just kind of played the way I played and then eventually we kind of figured out what worked best for the band. So, I definitely changed my stuff up and I think we're playing really tight now.

But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.

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

The longevity of a band is really contingent on loving the people that you're making music with and being able to get along in the long run. It's just like being married, except you're married to more than one person!

Especially in repetitive music, to make a long piece of music you have to be extremely skilled in your sleight of hand. Just to make long form music it's very difficult and you really have to consider what you're putting someone through.

I tell everybody, if you've got a band that works, it's a miracle. It's never going to be perfect, but if it works on some level, hold on to it with both hands and don't ever let it go.

I need a big picture. I can't just do a collection of songs; that doesn't work for me.

The group-effort sound in recording of 'Sea Lion' is like, you really hear all the people in the room and hear them interlocking. There's a real freight-train energy of all these people at the same time playing.

Whenever I have a bunch of tunes written, I always find a kind of uniform that accompanies the songs.

The great thing about string quartets is the players are kind of like family. They work really well as a unit, so you can write things that let them use those talents of association and intuition-all the things they’ve developed together as a group.

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.