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The music that I write is often not necessarily full of doom and gloom. You'll notice in most of the darkest songs, the music is actually pretty peaceful and lulling.

Andrew Bird

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Andrew Bird
Age: 51
Born: 1973
Born: July 11
Fiddler
Film Editor
Guitarist
Jazz Musician
Musician
Singer
Singer-Songwriter
Chicago
Illinois
Andrew Wegman Bird
Andrew W. Bird
Often
Notice
Write
Peaceful
Music
Necessarily
Writing
Songs
Pretty
Full
Darkest
Actually
Gloom
Song
Doom

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It's like you don't know you're making a record unless you're half-killing yourself.
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I think I'm still a little too intense for my own good sometimes.
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The orchestra's an amazing instrument, but I don't want to just arrange my songs for it. I think that might be kind of boring and a little bit overdramatic, perhaps. I'm still just having too much fun doing it my way, for the time being.
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I've always felt that dark lyrics with dark music is pretty useless. Maybe that's a strong statement - not useless, but for me, it's just boring.
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I think life is a wondrous thing. I'm happy to try pretty hard.
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I don't like super-descriptive modern fiction. I like, Here's what was happening in 1582 all over the planet. Then that gets my imagination going.
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Sometimes I just think we're not meant to fly halfway around the world in a day. That some kind of mutation is going to happen.
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Most records, you build from the drums and bass up. This one, we started with the vocals in Nashville and recorded them live with just the guitars and tried to make that complete and lovely-sounding without any adornment at all. I really wanted to get something with the vocal that I've never gotten before Armchair Apocrypha.
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With the words, a lot of things start with questions. Some word kind of piques my interest, and I love the way it sounds, but I really don't know what it means. And I honestly don't care for a while.
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Honestly, I didn't have the patience for biology or history in an academic sense, but I always liked the kind of big questions.
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If you take a little time, let's say three weeks off, after recording a song, and you listen to it every other day, you're just going to know eventually.
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I really like the sound of analog things where clearly there's something being touched. You can sense that something is handmade. So much with digital, there's a disconnect.
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The problem is, when you're working with orchestras, you only get the orchestra for about two hours before the performance to pull it all together, and that doesn't sound like a real collaboration.
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You travel with the hope that something unexpected will happen. It has to do with enjoying being lost and figuring it out and the satisfaction. I always get a little disappointed when I know too well where I’m going, or when I’ve lived in a place so long that there’s no chance I could possibly get lost.
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I'm into lately being a little less precious about writing and being like, Okay, what if I just locked myself in my room, pretend that there's someone outside with a gun that's saying, 'Don't come out until you write something.'
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There's always a tension between wanting to write a really concise, instant gratification type song that gets under your skin the first time you hear it, and wanting to really stretch out. I think it's a healthy tension.
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Every time I make a record, it's kind of like scarification or something. You work 15 hours until you're stupid. You're just kind of all jittery.
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The anti-aging advert that I would like to see is a baby covered in cream saying, 'Aah, I've used too much'
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There's kind of this unequaled thrill of playing a half-finished song, it's kind of sense of slight embarrassment like you're blushing. I like doing that. I did that with Eyeoneye and it was almost a curse on the song for a while I debuted it when it was half-finished in a very public way
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