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I also don't believe that everything happens for a reason, which is in a similar category of world-views.

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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Everything
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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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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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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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There's always that struggle between me wanting to keep [song] new and fresh and then be - I can never get with pop songs being so repetitive.
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When I start asking my friends, What do you think this means? And it leads to way more interesting conversations than what it actually ends up meaning in the dictionary. Like apocryphal, for instance.
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I write a lot more when I'm happy, because you're hopeful, you're motivated.
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The real drag is trying to fly from country to country, day of show, with all your gear. You get hassled all the time. It's hard trying to keep it together.
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Every time I get up in the morning, melodies occur to me and I start trying to shape lyrics to melodies.
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I create little challenges for myself, like, 'Okay, whatever you do in this song, you've got to somehow work in Greek Cypriots,' or something like that.
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I don't write poetry and then strum some chords and then fit the words on top of the chords.
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I guess I'm attracted to more archaic words because they can be imbued with more meaning, because their definition is elusive.
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Guitars are kind of just, you know, sexy, especially old vintage ones.
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Playing the violin and singing and whistling are just three different ways of making sound.
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My favorite literature to read is fairly dry history. I like the framework, and my imagination can do the rest.
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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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You can build up expectations for a song before you record it, and then it's like nothing's good enough in the studio.
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Most of the songs that I appreciate are lyrically vague.
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I still kind of believe this absurd line that if you have to write it down, it's not worth remembering.
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I'm not a home-studio guy. I spend a lot of time working by myself developing songs, but I really need some other counterpart to help me pull it all together, because you go nuts working if I had to finish an entire project all within my own head.
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I'm just trying to get my body in shape so that I can handle it. It's a very physically demanding thing. I've been doing it for 16 years, so I know what I'm going into now. I'm trying to stay calm and not panic.
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