When we started the band, it was because we were waiting for a sound that never happened. We got tired of waiting, and we decided to just do it ourselves.
I know that if I went to other studios, like in Vancouver, that those are set up to be as professional and as true, so it's just a different flavour, it's a different sound, but I think both have their place.
It's not an act. I love it. It's totally original. People go, 'What's going on with this guy? Why does he sound so weird? What is going on in his brain. I don't know. Just one day I suddenly woke up with a new brain.
Some people just come in, do it and they know it's right. It turns out better than you imagined it was going to sound. When that happens, you take it as a gift.
Around '75 when the recession hit, club owners started going to disco because it was cheaper for them to just buy a sound system than it was to hire a band.
This character in the film, these things that he says which sound like advice and wise things, they are very common for Orientals. It's all the tradition.
Life's but a walking shadow, a poor player, that struts and frets his hour upon the stage, and then is heard no more; it is a tale told by an idiot, full of sound and fury, signifying nothing.
It's not about how loud you turn the amp up. That's not what makes it sound big. What makes it sound big is fooling around with different delays and reverb settings.
