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Pieces Quotes

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Pieces Quotes

“Comeback records always worry me, especially when they're made by one of my heroes, and I'd heard stories about Gil Scott-Heron recently, about drug arrests and prison terms and other troubles. I wasn't prepared for the ravaged shakiness of his voice on this record or the raw spoken word pieces or the dark electronic backgrounds.”

“Freud believed that our dreams sometimes recapitulate a speech, a comment we've heard or something that we've read. I always had compositions in my dreams. They would be a joke, a piece of a novel, a witticism or a piece of dialogue from a play, and I would dream them. I would actually express them line by line in the dream. Sometimes after waking up I would remember a snatch or two and write them down. There's something in me that just wants to create dialogue.”

“I grew up in the spoken-word community. Before everybody had a home studio, or before we could get booked for shows, open mics were the only way to be heard by other people. It really gave me a chance to develop as a performer. Reading a piece of poetry with no beat in front of 20 people is way more challenging than rocking for 10,000 people.”

“I heard Joby Talbot's Hovercraft piece for orchestra and felt its immediate physical impact - visceral, unsettling, hungry and direct. These short five minutes became our keystone to unlocking a strangely seductive score that tensions the aggressive force of the White Stripes with the enigmatic beauty of Talbot's own compositions.”

“With any kind of physical test, I don't know what it is, I always seem to get competitive. Remember when you were in school and they'd do those hearing tests? And you'd really be listening hard, you know? I wanted to do unbelievable on the hearing test. I wanted them to come over to me after and go, 'We think you may have something close to super-hearing. What you heard was a cotton ball touching a piece of felt. We're sending the results to Washington, we'd like you to meet the President.'”

“I initially wanted to tell 'Oscillate Wildly' story because it wasn't one I had heard or seen before. The invisibility piece resonated most. Somewhere over the past couple of years I realized that I've essentially been making movies for my teenage self who struggled with isolation and my own brand of invisibility living in rural Ohio.”

“I'm particularly keen on promoting this [Nikolai] Medtner piece, Night Wind, because I feel it is a fantastic work that hasn't been given its due yet. Admittedly, it's difficult for both the performer and the listener. The work is quite dense, comparatively long, as these things go, and demands rather active listening. But it's gripping, and I believe it should be heard much more than it has been.”

“I have heard of some good old woman in a cottage, who had nothing but a piece of bread and a little water, and lifting up her hands, she said, as a blessing, What! all this, and Christ too?”

“Books are frozen voices, in the same way that musical scores are frozen music. The score is a way of transmitting the music to someone who can play it, releasing it into the air where it can once more be heard. And the black alphabet marks on the page represent words that were once spoken, if only in the writer's head. They lie there inert until a reader comes along and transforms the letters into living sounds. The reader is the musician of the book: each reader may read the same text, just as each violinist plays the same piece, but each interpretation is different.”