For so many people, it's very hard to feel okay with success, because success is not cool. It supposedly tarnishes your thing; it ruins little pockets of scenes and the self-importance that comes from thinking you're the only people in your town that are doing something.
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For so many people, it's very hard to feel okay with success, because success is not cool. It supposedly tarnishes your thing; it ruins little pockets of scenes and the self-importance that comes from thinking you're the only people in your town that are doing something.
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O.P.N. has always been about reaching for some kind of liminal state in which opposing aesthetic forces become entangled and confused and equal.
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O.P.N. has always been about reaching for some kind of liminal state in which opposing aesthetic forces become entangled and confused and equal.
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The promotional cycle's this staging area for failure. I hate it! Why bother when everyone's either gonna steal the album or copy it?
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I really don't care if anyone thinks I'm special or not, I just want to be able to live my life without thinking about money all the time, or where I'm going to get it.
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Film scores are complicated puzzles that you need to figure out and solve very quickly, or else you're basically fired. You're hired to enhance the film and you only have a couple tries to prove that you are capable of that task. I can keep trying to enhance my album ad infinitum.
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No one is mediating aesthetic choices on an OPN album other than myself.
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Nothing's ever easy about composing for other people's projects, but I like it. I've been lucky to have worked with adventurous directors who trust me.