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If you're an artist just fucking do it!'" don't wait on these record companies to tell you that you're an artist. "I think that's the anarchy that punk hinted at. Now somebody can sit in their room and just make music they don't have to pay attention to the world or culture.
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"Nowadays, it isn't that people can't play, it's more that, having access to computers and music software is the most punk-rock thing that's ever happened to music. "That's different from when I was growing up where it was a special treat to run into a musician that could really play. In some ways it devalues what music is, in that it's not like some mystical thing being carried down from the mountain - everybody, eventually, will know some weirdo who's playing around with gadgets to make cool music. "I think that it's a good world where that becomes more normal and people understand it more. it's a great sound, even by our standards! We used it on one song then ended up wanting to use it on more."Īre you excited by the fact that you can now create boutique choirs with iPads and the like? It's him playing a manipulated choir of himself. "One of the main vocal sounds we used is a choir sound that Steven made from his voice on his iPad. "Almost every time we'd go to do vocals there would be some new wacko plugin that someone would be saying to try. That is one of the striking features of The Terror - the voices seem more textured than conventional vocals. "Even the way we do our voices on The Terror means that we're not really singers we're just part of a sound."
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We've made 16 albums now so we don't worry too much about things, rather we like things if they express what we like and we don't think of it as being 'guitars' or 'drums' - it's just sounds. "Cymbals and crescendos or changing time signatures are all things that add to the mood of a song. was just made up sounds that's like a bunch of drums and stuff and during one mix of that Kliph (Scurlock) had gone out and played cymbals, which made it sound too like a rock band, so we took most of them off. There are things you can do live that are big, bombastic and loud but simply don't work on a record and you sometimes forget that. "Well we're no strangers to bombast, you know, and we always go for big sounds. Is there anything off-limits, sonically, when you're putting together a Flaming Lips album? We've often gone so far into song-writing that, for us, it's sometimes the case that the less of a song there is then the more the room there is for it to be a song." "Through time you learn that there are no set rules about what makes up a song. we know sometimes that being a song-writer is a fucking affliction! Some of our best moments, like say, The Observer off The Soft Bulletin, aren't really songs but more just a mood and a sound. We would shape sounds and put whatever structure there is to it and find ways to make them into songs. "Well, with this record we didn't really write 'songs'. What was the initial motivation behind The Terror? We caught up with Flaming Lips founder member, singer, guitarist and agent provocateur, Wayne Coyne to get the inside line on how The Terror came into being. Left to right: Steven Drozd and Wayne Coyne of The Flaming Lips Wayne Coyne