Dedicated to classics and hits.

Thursday, May 23, 2013

Impose Interview with Alex Dirty Beaches Has The Final Word



  So yeah it's over. Best New Music for Drifters/Love Is The Devil  by Dirty Beaches.  It's hard to quantify the difference but I like to think it's like adding another zero to the end of whatever you are quantifying.  Sales, audience size, etc.  Add a zero.

 Impose published this pretty awesome interview with Alex and I'm just going to do quotes because they really fucking nail some things that haven't been asked yet:

Q:  When zoo music announced drifters/love, they alluded to the idea that a lot of labels wanted to work with you after badlands. why did you make the decision to stay with zoo?

A:  Sometimes it's best to just work with friends, as Zoo doesn't interfere with my vision and with what I want to do with the album, from art work to music videos, Zoo let's me take care of it. Whereas I haven't really encountered a bigger label that was in my interest. They just want to milk me and hinted that they want more songs like “Lord Knows Best” or “True Blue,” and suck me dry and dump me off the label after 2 albums. At least that's what their contracts all look like to me.
  I've wanted to be more vocal about this issue but it's not really cricket in the music industry to talk about other labels, even though the labels you aren't supposed to talk about will literally rip your heart out of your chest and eat it in front of you as you die:  That's the relationship between "big" indies and "bedroom" indies: The big indies walk up to bedroom indies and rip their beating hearts from their living chests and laugh while they die.  It's strictly the law of the jungle.  Alex deserves credit for standing up for himself, because what everyone told Alex is that he couldn't do it his way, that he had to do it their way. That was bullshit, as it turns out.  Total fucking bullshit and all those people were wrong.


Q: in the past, you’ve regularly referenced filmmakers. these cinematic influences seem more pronounced than ever, though you’ve made it clear that your new music is intensely personal. can you talk a bit about that balance – between the art that influences you, and the ways your own life informs your music
          A:Excellent question. My friends and I have been talking about the question of aesthetics a lot lately because due to the vast spread of information and culture on the Internet (a good thing). Everyone from a 16-year-old kid can have the best taste in art, culture, cinema, music, fashion etc., but where does this take us? In some cases (not all) most people focus a lot on aesthetics and the surface. So much so that the creator loses sight of the story or content. And we are all guilty of that in some point of our lives, but me and my friends have moved on artistically and are focusing primarily on finding ourselves, in which our core influences (the unique combination of it) makes us who we are. Also, continuously adapting to new things and culture, and to keep growing and learning, instead of folding our arms scoffing at something. I love trying new food and new culture and learning new languages, because I am not ethnocentric. And I think this attitude helps me when it comes to my work, because one-sided perspectives are really boring to me. Hybrids, hybrids, hybrids. Your influences will eventually become digested and turn into something else entirely. You just have to find what's within the core of yourself. Then repeat all that all over again your entire life, hahaha.  (IMPOSE)

  This is also an interesting opinion, one I agree with, and similar to a conversation I had today with someone else where they said, "I don't want to reinvent the wheel with music, I think the world needs more wheels and I went to make them."  It's really a question of craft ultimately, craft and professionalism.  That's what your left with after the glow of novelty fades.

No comments:

Blog Archive