“Someone said that it helped them, as a member of the audience, to close their eyes, because it felt so intimate — like they shouldn’t be watching me.”
“When I’m doing music onstage, I’m putting my heart and soul into it, and giving all I have to give. But when I’m finished with music, I just like to put up my own little aura where there’s peace and quiet.”
“You have to immerse yourself into things to really get it. It’s like language. You got to go to Spain or something to learn Spanish in the realest sense.”
“I’ve been guilty of trying to hide behind effects, but I don’t want to do that anymore. It feels boring.”
“I love the rules, but I want the rules to create a situation in which the music that results breaks or re-frames some idea about what music is or was or is supposed to be.”
“I wanted to do an album where it would have radically contrasting sonic environments, but still feel like it’s all coming from one creative space.”
“To me, noise is one of the most egalitarian art forms, because it is so inherently marginal.”
“Making these remixes had been like going to school for me. […] It was a good way to learn the software, to define the world I was making.”
“I’m trying to tap the collective unconscious. I’m trying to find a seat in the front, so I don’t get car sick.”
“Wolf Eyes are finished fucking around. I know how to write good Wolf Eyes songs, and music theory has done nothing but make the process more efficient.”
“I’m fascinated by the performer-audience concept; am I supposed to give you everything, or are you compelled enough to ask me questions and have me answer you?”
“I get bored easily, so maybe I’m attracted to eccentric personalities. I guess I like having really volatile front men.”
