quotes from classic

When I start working on a batch of tunes - like roughly 10 solid tunes - I always know there'll be another 10 to follow, because for every song I invest a lot of time in, there's another song waiting behind it.

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There definitely isn't a structure anymore to how I get ideas. A lot of times I'll just write down a phrase, or I'll have an idea that's attached to just a few chords. Other times, it's work.

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There is this strange fog of being a young man that I would refer to as soft time. Time does not go forward there. It's a series of doors that kind of wind back into one another, like a series of doors in the upper floor of a house. You revisit the same lessons over and over again, or you choose to ignore them.

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My intentions have been, and are always, to just really get behind what my ideas are musically and to just ride this thing out, cause it feels good, and I think for the most part it's good music. Even when it's not, I'd like to still search for something that could be even like a little bit mind-blowing or shocking to me.

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I think I've been incredibly raw my whole career. A lot of people spend a lot of time trying to look cool and spend time being guarded and putting up walls. I just never had the time. It seems more honest to say, 'Hey, this is who I am.'

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I've gotten to a place where I still love to play and sing, but I don't have any ego agenda left, outside of just wanting to stay in a creative place and play music. I much prefer to sing for somebody else, and to somebody else.

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Writing and creating, those things come to me on their own. I feel like... you sort of summon them and it's like allowing the universe to enter your heart in an entirely different way to what it normally does. It's like inviting that energy of the universe to enter into your craft in a way where it has a meaning.

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There's all these musicians in the world, and anybody that takes enough time to create a record or even think about the fantasy of rock & roll, it's a vulnerable place to be in, it's a huge thing to do.

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I routinely never discuss my marriage. It's nice to have things in my life that are totally mine.

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Collaboration has become really integral to my process. I play music so that I can spend time with my friends and communicate in that way. I experience so much joy in that process, because, you know, it's those times of getting together and playing music and all that comes with it that are the best for me.

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I have found in black metal the lyrics are profoundly beautiful... a pathos and mythos at the same time.

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When I'm in New York, I just want to walk down the street and feel this thing, like I'm in a movie.

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On 'Heartbreaker,' I had to sing those songs. I drank the way I did those songs. I ate the way I did those songs. I communicated the way I did those songs. With 'Gold,' I was trying to prove something to myself. I wanted to invent a modern classic.

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I think it would be wrong to consider 'Ashes and Fire' a love album. The record is obsessed with time. I believe that there is a kinder view of the self on this record.

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Music is my thing. It's my thing; it's what I love. It's what I do. It's football to me; it's Christmas to me; religion to me; poetry to me.

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Maybe I am a jerk sometimes. Maybe I'm not. I think most people are kind of a jerk once in a while.

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Fame is an unnatural construct and those who go in search of it are the least likely to find it.

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I don't know if younger poets read a lot of, you know, the poets - the established poets. There was a lot of pretty boring stuff to sort of put up with and to add to, to make something vital from.

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There's one of my new poems actually - is a good example of where my poetry has ended up. My earlier river poetry was more like a cross between Shelley and Dylan Thomas.

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He was certainly in a confused state. I used to go and visit him in Callan Park. They were really - to me they were the best poets those two writing in those days but it wasn't very encouraging because, well, they weren't getting far were they?

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