"And the Addendum is maybe ones that came more easily. I didn’t really have a barometer to judge them by in the sense that you can always be sure that if you suss it out, it will go to show, just purely in terms of labor. The songs on Addendum are more carefree and perhaps more characteristic of my work in general, as opposed to transcending that province or whatever."
"And so the box set in that sense, it’s a tip. But it very much does me a favor in the sense that, like you just said, it puts a bookend on it all. Because I’m not going to be able to do “Bang Bang Bang” if I couldn’t when I was 22, I certainly can’t now. And so where do I go with it? Do I just make it more ambitious in the progressive experimental sense? I don’t think so."
"Just in terms of the differentiation, Screen Memories is more thought over. It’s more rigorous. Those tracks stand together. The other is out of the work I’ve done in the last two or three years since I got up and going again. Just the other tracks, they’re outtakes in a way. I guess it’s much closer to A Collection… that the label wanted."
"Addendum, if I had to explain it, is what came easier, so to speak. So it wasn’t deliberate, just a way to wrap it all together. Put a bow around. Also, I guess it ends up doing me the favor of closing a chapter on these last few years."
"That said, I’m coming to the limit of that with this record. There’s the prospect of at the very least re-amplifying things in a proper studio and adding instrumental performers. More and more that’s become appealing, because I feel I’m coming up at an impasse of doing it all myself."
“WHY? Why the chipmunks?”
"But what I worry is that maybe… maybe I’m running my course in this particular idiom of post-war popular music. Maybe that idiom is at its end anyway and something else is on the rise, the same way jazz or whatever was supplanted before."
"Maybe this is pretentious or pompous of me, but by way of direct reference to, musical reference to the string sextet “Transfigured Night,” so you have all these trills and the synths and it’s basically, even though it’s underpinned with an entirely different harmony, a reference to that moment in that string sextet in [Schoenberg’s Opus 4]. It was a tone poem and I don’t know who wrote it, but a man and a woman are walking through the moonlight and he loves her and she loves him and then she tells him that she’s pregnant by another man, and he has a heart attack then he realizes, and he says “but I love you so much” and the child is transfigured into his child. It’s very romantic. The poem is late romanticism, borderline expressionism. It’s a really amazing piece of music, but there’s the transfiguration in there, so I make the reference to that on [“Pets”]. The focus on the album in general was almost exclusively on musical details, and that particular track is full of stretto and augmentation, that theme that the bass is playing, it really almost in a way that’s entirely foreign to pop, I used all these devices of motivic integral unity like that bassline is everywhere in that song, the little riff that the bass is playing in the beginning like, if you wanna have a fun time looking for aliens and South Park episodes you can see the inversions and the retrogrades of that theme everywhere, it’s all built on that little nugget. It was an exercise in that way, for what little that’s worth."
STEREOGUM: It’s a fun song
"I love TV. I watch a lot of TV"
Last edited by Poe on Fri Dec 01, 2017 7:45 am, edited 1 time in total.