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The melodies come out so strong that I'm like, Oh, crap. It's really better if they could both be kind of able to compromise, but the melodies, even more recently, they come out very fully cast and formed.

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
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Fully
Melodies
Strong
Formed
Able
Recently
Better
Crap
Come
Melody
Even
Cast
Kind
Casts
Really
Compromise

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I don't like to disappear between records. I like to play shows while I'm making the record.
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I've literally opened it up to suggestions and it's totally chaotic and kind of a bad idea. You don't need the actual feedback to get a sense. When you're showing a song for the first time, people can feel that newness.
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Playing the violin and singing and whistling are just three different ways of making sound.
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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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The way I work, I'm not a confessional singer-songwriter.
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What you see with your eyes when you're making music is going to have a profound effect on what you hear.
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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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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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I think I'm still a little too intense for my own good sometimes.
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I've never approached classical music in a formal way, ever. I couldn't read very well. I'd have to play every piece and internalize it, almost as if I had written it myself.
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It's not set in stone. I like to keep it rolling and changing, and so I am like, Great, I get to remake my song.
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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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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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I think any songwriter or record, no matter how good it is, can become tedious if it's the same person's point of view. After four tracks, you start to get worn down no matter how good it is. It can be relentlessly good, but it's still going to wear you out.
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With digital sound just becomes simply information, not the sum of its parts.
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I just pay attention to what's in my head. That's my number-one rule.
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The weirdest time is when I'm having to explain myself all day to journalists, and then I don't perform, so there's no release, just a lot of self-consciousness. Then what do you do with that at the end of the day? How do you release your brain from talking about yourself all day?
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All the folks I play with come from jazz backgrounds or at least appreciate spontaneity within the parameters of a pop song.
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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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Sometimes I think I don't have much choice in the matter. It's just what happens, and I'm following my instincts the whole time.
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