मुझे लगता है कि गर्मियाँ, कम से कम जैसा मैंने अनुभव किया है, बेहद आनंददायक हो सकती हैं लेकिन भावनात्मक रूप से कठिन भी हो सकती हैं। शारीरिक तौर पर, गर्मी इतनी ज़्यादा हो सकती है कि सहन न हो सके, और मुझे लगता है कि आप उस झुंझलाहट को भी कैद करना चाहते हैं, साथ ही उससे मिलने वाली राहत को भी।
I think summer, at least as I've experienced it, can be joyous but it can also be tough emotionally. Physically, it can be hot to the point of being unbearable and I think you want to capture that frustration, but also the release.
I think summer, at least as I've experienced it, can be joyous but it can also be tough emotionally. Physically, it can be hot to the point of being unbearable and I think you want to capture that frustration, but also the release.
आर्थर रसेल की डॉक्यूमेंट्री में एक बात कही जाती है जहाँ उनके पार्टनर बताते हैं कि आर्थर को काम करने की प्रक्रिया (प्रोसेस) में कितनी दिलचस्पी थी। उन्हें कभी ऐसा महसूस ही नहीं हुआ कि कोई चीज़ पूरी हो गई है, और यहाँ तक कि रिलीज़ होने के बाद भी वे चीज़ों पर काम करते रहते थे। मैं इस बात से पूरी तरह जुड़ाव महसूस करता हूँ।
There's a line in the Arthur Russell documentary where his partner talks about how Arthur is really interested in process. He never felt like anything was finished, and he would even work on things after they'd been released. I definitely relate to that.
There's a line in the Arthur Russell documentary where his partner talks about how Arthur is really interested in process. He never felt like anything was finished, and he would even work on things after they'd been released. I definitely relate to that.
ज़ाहिर है, किसी एल्बम को पूरा करने में हमेशा उतना समय नहीं लगता जितना आप सोचते हैं। ऐसा हमेशा ही होता है। हर चीज़ में आपकी उम्मीद से ज़्यादा समय लगता है। कभी-कभी चीज़ें बहुत तेज़ी से हो जाती हैं।
Obviously it always takes longer to finish an album than you think it will. That's always going to be the case. Everything takes longer than you think it will. Occasionally things happen fast.
Obviously it always takes longer to finish an album than you think it will. That's always going to be the case. Everything takes longer than you think it will. Occasionally things happen fast.
मैं इस रिकॉर्ड ['मॉडर्न वैम्पायर्स ऑफ़ द सिटी'] के हर एक गाने से जुड़ा हुआ महसूस करता हूँ, लेकिन हाँ, मुझे लगता है कि 'यंग लायन' में कुछ खास बात है। यह हमारे अब तक के किसी भी गाने से काफी अलग है क्योंकि इसके बोल पियानो की दो बहुत ही सरल वाद्य धुनों के बीच में हैं और यह एक ऐसी चीज़ है जिसे हम विगनेट कहते हैं, यानी एक तरह की लघु रचना।
I feel connected to every song on this record [ 'Modern Vampires Of The City' ], but yeah I think there's something special about 'Young Lion'. It's pretty different from any song that we've had before because the vocals are kind of between two different very simple instrumental piano melodies and it's almost like something that we call a vignette, it's sort of like a miniature.
I feel connected to every song on this record [ 'Modern Vampires Of The City' ], but yeah I think there's something special about 'Young Lion'. It's pretty different from any song that we've had before because the vocals are kind of between two different very simple instrumental piano melodies and it's almost like something that we call a vignette, it's sort of like a miniature.
मुझे लगता है कि ड्रम के साथ मेरा कोई बहुत गहरा, अंदरूनी जुड़ाव है। मैं ऐसा संगीत बनाना चाहता हूँ जिससे लोग अंदर से गहराई से प्रभावित हों और उस पर अपनी प्रतिक्रिया दें। मुझे लगता है कि आप कोई ऐसा गाना सुन सकते हैं जिसे आपने पहले कभी न सुना हो और भले ही वह आपको ज़्यादा पसंद न आए, फिर भी आप यह महसूस कर सकते हैं कि आप अनचाहे ही शारीरिक रूप से उस पर प्रतिक्रिया दे रहे हैं। मुझे लगता है कि यह संगीत की एक बहुत शक्तिशाली खूबी है, और यही वह चीज़ है जो मुझे ड्रम की तरफ़ खींचती है।
I guess I have some kind of a visceral connection with drums. I'm looking to create music that people can react to viscerally, and people will respond to viscerally. I think that you can listen to music, to a song you've never heard before and not really like it, but also feel like you're responding to it physically whether you like it or not. I think that's a powerful aspect about music, and I think that's something that draws me to drums.
I guess I have some kind of a visceral connection with drums. I'm looking to create music that people can react to viscerally, and people will respond to viscerally. I think that you can listen to music, to a song you've never heard before and not really like it, but also feel like you're responding to it physically whether you like it or not. I think that's a powerful aspect about music, and I think that's something that draws me to drums.
हालाँकि, मैंने किशोर अवस्था में गिटार के पाठ लिए थे, और फिर मैंने गिटार पर जो कुछ भी बजा सकता था उसे खुद ही पियानो पर बजाना सीखना शुरू कर दिया, इसलिए दक्षता हासिल करने का मेरा रास्ता बहुत अजीब और पारंपरिक नहीं था। मुझे लगता है कि इसी वजह से शायद मैं चीज़ों को एक नए दृष्टिकोण से देख पाया।
I did take guitar lessons as a teenager, though, and I started to teach myself how to play everything I could play on the guitar on piano, so I had a really weird, non-traditional route to proficiency. I think it probably helped me come at things from a new angle.
I did take guitar lessons as a teenager, though, and I started to teach myself how to play everything I could play on the guitar on piano, so I had a really weird, non-traditional route to proficiency. I think it probably helped me come at things from a new angle.
मुझे यह विचार पसंद है कि कोई गाना किसी रोमांटिक रिश्ते के बारे में भी हो सकता है, लेकिन वह आपके करियर के साथ आपके रिश्ते, या आपके शहर के साथ आपके रिश्ते के बारे में भी हो सकता है। यह किसी व्यक्ति के बारे में हो सकता है, लेकिन साथ ही यह किसी परिस्थिति के बारे में भी हो सकता है।
I like the idea that a song can be about a romantic relationship, but it can also about a relationship to your career, or a relationship to your city. It can be about a person, but at the same time it can be about a situation.
I like the idea that a song can be about a romantic relationship, but it can also about a relationship to your career, or a relationship to your city. It can be about a person, but at the same time it can be about a situation.
यह कहना मुश्किल है कि समय आपके काम को कैसे प्रभावित करता है, क्योंकि कभी-कभी चीज़ें आपके सामने बहुत जल्दी आ जाती हैं, लेकिन उन विचारों को आपके दिमाग में पकने में सालों लग जाते हैं।
It's hard to say how time factors into your work, because sometimes things will come to you very quickly, but it will take years for the ideas to be gestating in your mind.
It's hard to say how time factors into your work, because sometimes things will come to you very quickly, but it will take years for the ideas to be gestating in your mind.
कॉलेज के दौरान मैं रिकॉर्डिंग करने, गाने प्रोड्यूस करने और अलग-अलग तरह की बीट्स बनाने में लगातार बेहतर होता जा रहा था। मैं 60 और 80 के दशक की निर्माण शैली (प्रोडक्शन) की बारीकियों को समझने लगा था। हमने कभी भी किसी चीज़ की दोबारा रिकॉर्डिंग नहीं की। जितनी भी रिकॉर्डिंग कंपनियों ने हमें साइन करना चाहा—एक को छोड़कर—वे सभी हमारी खुद की की गई रिकॉर्डिंग को लेकर उत्साहित थीं।
Throughout college I was getting better and better at making recordings, producing songs, making different kinds of beats. I was starting to learn the signifiers of production from the '60s, the '80s. We never re-recorded anything. All the record companies that wanted to sign us - except for one - were excited about the recordings that we had done ourselves.
Throughout college I was getting better and better at making recordings, producing songs, making different kinds of beats. I was starting to learn the signifiers of production from the '60s, the '80s. We never re-recorded anything. All the record companies that wanted to sign us - except for one - were excited about the recordings that we had done ourselves.
जहाँ तक गानों के बोल (lyrics) की बात है, मुझे लगता है कि मैं अपने जीवन के एक ऐसे दौर से गुजर रहा था जहाँ मैं खुश महसूस नहीं कर रहा था। मुझे लगता है कि मेरे मन में कुछ अस्तित्वगत निराशा (existential frustration) थी और मैं कई अलग-अलग स्तरों पर उससे जूझ रहा था। मुझे ऐसा लग रहा था कि मैं बहुत सारी चीज़ें बदलना चाहता हूँ।
As far as the lyrics go, I think I was negotiating a moment in my life where I didn't feel happy. I think I had some existential frustration and I was wrestling with that on a few different levels. I was feeling like I wanted to change a lot of things.
As far as the lyrics go, I think I was negotiating a moment in my life where I didn't feel happy. I think I had some existential frustration and I was wrestling with that on a few different levels. I was feeling like I wanted to change a lot of things.
मैं एक ऐसा एल्बम बनाना चाहता था जिसमें हर गाना एक-दूसरे से जुड़ा हुआ लगे—जहाँ यह बताना मुश्किल हो कि कौन सा स्ट्रिंग अरेंजमेंट है और कौन सा गाना। मुझे लगता है कि यह कॉलेज जाने, संगीत में ग्रेजुएशन करने, शास्त्रीय संगीत का अध्ययन करने और बचपन से ही शास्त्रीय संगीत की ओर खिंचे चले आने की वजह से हुआ।
I wanted to make an album where every song is kind of interacting - where you can't tell what's the string arrangement and what's the song. I guess that came out of going to college, majoring in music, studying classical music, and even as a kid, being really drawn to classical music.
I wanted to make an album where every song is kind of interacting - where you can't tell what's the string arrangement and what's the song. I guess that came out of going to college, majoring in music, studying classical music, and even as a kid, being really drawn to classical music.
तकनीकी रूप से अच्छा संगीत बनाने और ऐसा संगीत बनाने जिससे मुझे अंदर से अच्छा महसूस हो, इन दोनों धाराओं को आपस में मिलाने में मुझे कुछ समय लगा।
It took me some time to join the various streams of making music that was technically good and making music that made me feel good.
It took me some time to join the various streams of making music that was technically good and making music that made me feel good.
किसी बिंदु पर मैंने फैसला किया कि मैं गिटार की और कोई तकनीक नहीं सीखना चाहता। मैं उस स्तर पर था जहाँ इसके बाद चढ़ने वाला अगला पहाड़ वैन हेलेन (Van Halen) था और मुझे वैन हेलेन वास्तव में पसंद नहीं थे।
At some point I decided I didn't want to learn any more guitar technique. I was at that level where the next mountain there was to climb was Van Halen and I didn't really like Van Halen.
At some point I decided I didn't want to learn any more guitar technique. I was at that level where the next mountain there was to climb was Van Halen and I didn't really like Van Halen.
मैं भाग्यशाली था कि मुझे एक ऐसा गिटार शिक्षक मिला जिसने मुझसे पूछा कि मैं क्या सीखना चाहता हूँ। मैंने रेडियोहेड का "हाई एंड ड्राई" और काउंटिंग क्रोज़ का "मिस्टर जोंस" लाकर दिया और उन्होंने कहा, "ठीक है, मैं तुम्हें ये सिखाने जा रहा हूँ, लेकिन साथ ही तुम कुछ ऐसी चीज़ें भी सीखोगे जो मैं तुम्हें सिखाना चाहता हूँ।" उन्होंने मुझे जिमी हेंड्रिक्स और एरिक क्लैपटन सिखाया, इसलिए मुझे तकनीकी चीज़ें और मज़ेदार चीज़ें दोनों मिल रही थीं।
I was lucky to have a guitar teacher who asked me what I wanted to learn. I brought in "High & Dry" by Radiohead and "Mr. Jones" by Counting Crows and he was like, "Alright, I'm gonna teach you these, but you're also gonna learn some stuff that I want you to learn." He taught me Jimi Hendrix and Eric Clapton, so I was getting the technical stuff and the fun stuff.
I was lucky to have a guitar teacher who asked me what I wanted to learn. I brought in "High & Dry" by Radiohead and "Mr. Jones" by Counting Crows and he was like, "Alright, I'm gonna teach you these, but you're also gonna learn some stuff that I want you to learn." He taught me Jimi Hendrix and Eric Clapton, so I was getting the technical stuff and the fun stuff.
मैंने पियानो का बस एक ही सबक लिया और उससे नफ़रत हो गई, और फिर 18 साल की उम्र तक मैंने पियानो का कोई सबक नहीं लिया।
I took one piano lesson and hated it and then didn't take any piano lessons until I was 18.
I took one piano lesson and hated it and then didn't take any piano lessons until I was 18.
मैं कहूँगा कि मैं थोड़ा मिलनसार था और थोड़ा शर्मीला। मैं अपने भाई से निश्चित रूप से कहीं अधिक शर्मीला था। मैंछोटा था—छह साल का। संगीत मेरी तरफ़ इसलिए खिंचा चला आया क्योंकि मेरे भाई ने वाद्य यंत्र बजाना शुरू कर दिया था और मैं अपनी कम उम्र के बावजूद उसके स्तर पर पहुँचना चाहता था।
I would say I was a little bit outgoing, a little bit shy. I was definitely much more shy than my brother. I was young - age six. I was really drawn to music because my brother started playing instruments and I wanted to be at his level, even though I was younger.
I would say I was a little bit outgoing, a little bit shy. I was definitely much more shy than my brother. I was young - age six. I was really drawn to music because my brother started playing instruments and I wanted to be at his level, even though I was younger.
मेरे माता-पिता 1979 में ईरान छोड़कर फ्रांस चले गए और फिर अमेरिका आ गए। मेरे भाई का जन्म फ्रांस में हुआ और मेरा जन्म न्यूयॉर्क में हुआ। मुझे लगता है कि मेरे माता-पिता ने फ्रांस इसलिए छोड़ा क्योंकि उन्हें लगता था कि उनके बच्चों को फ्रांसीसी संस्कृति कभी स्वीकार नहीं करेगी। यहाँ उन्हें लगा कि हम अमेरिकी महसूस कर सकते हैं—कि हम उस तरह से सुरक्षित महसूस कर सकते हैं—जो कि ईरान में उनके अनुभवों को देखते हुए उनके लिए महत्वपूर्ण था। वे अक्सर इस बात पर मज़ाक करते थे कि मैं राष्ट्रपति बन सकता हूँ क्योंकि मैं अकेला ऐसा था जिसका जन्म अमेरिका में हुआ था।
My parents left Iran in 1979 and moved to France and then moved to the U.S. My brother was born in France and I was born in New York. I think my parents left France because they felt their kids would never be accepted by French culture. Here they thought we could feel American - that we could feel safe in that way - which was important to them, given what their experiences were in Iran. They used to joke about how I could be president because I was the only one born in America.
My parents left Iran in 1979 and moved to France and then moved to the U.S. My brother was born in France and I was born in New York. I think my parents left France because they felt their kids would never be accepted by French culture. Here they thought we could feel American - that we could feel safe in that way - which was important to them, given what their experiences were in Iran. They used to joke about how I could be president because I was the only one born in America.
जब मैं किसी और के लिए गाने प्रोड्यूस कर रहा होता था, तो मुझे लगातार 15 घंटे काम करने में कोई परेशानी नहीं होती थी, लेकिन मैं अपने खुद के गानों के साथ ऐसा नहीं कर पाता था। कैमरा अपनी तरफ़ मोड़ने वाले उस पल ने मुझे यह एहसास कराया कि अपना खुद का संगीत बनाने में खो जाना ठीक है। मुझे लगता है कि उससे पहले मैं खुद को उस हद तक धकेलने से डरता था जहाँ मुझे किसी असीम शून्यता (अभिन्ना) में ताकना पड़े।
I had no problem working for 15 hours straight when I was producing someone else, but I couldn't do it with my own songs. It took that moment of pointing the camera at myself to realize that it was okay to get lost in making my own music. I think before that I was scared of pushing myself to the point of staring into the abyss.
I had no problem working for 15 hours straight when I was producing someone else, but I couldn't do it with my own songs. It took that moment of pointing the camera at myself to realize that it was okay to get lost in making my own music. I think before that I was scared of pushing myself to the point of staring into the abyss.
'अनबिलीवर्स' एक ऐसा गाना था जिसे हमें लगा कि हम संभाल सकते हैं, इसलिए यही एक वजह थी कि हम इसे लाइव बजाना शुरू करना चाहते थे, हमें वास्तव में उस गाने पर बहुत भरोसा था और आज भी उस गाने पर बहुत भरोसा है।
'Unbelievers' was a song that we felt like we could tackle, so that's one of the reasons we wanted to start playing it live, we really believed in that song and we still believe in that song a lot.
'Unbelievers' was a song that we felt like we could tackle, so that's one of the reasons we wanted to start playing it live, we really believed in that song and we still believe in that song a lot.
हमने हमेशा कहा है कि हमारा बैंड एक खुला सिस्टम है और इस पर कोई नियम लागू नहीं होते... तो कौन जानता है कि भविष्य में क्या होगा?
We've always said that our band is pretty much an open system and there's no rules governing anything... so who knows what the future will hold?
We've always said that our band is pretty much an open system and there's no rules governing anything... so who knows what the future will hold?
मुझे यह विचार बहुत पसंद है कि एक गाना किसी का भी सहारा बन सकता है, चाहे वह उसे लिखने वाला हो या सुनने वाला।
I like the idea that a song can be something that you can lean on, both for the songwriter and for the person who hears the song.
I like the idea that a song can be something that you can lean on, both for the songwriter and for the person who hears the song.
एन्जिल डेराडोरियन के साथ काम करना मुझे बहुत पसंद है, उनके साथ काम करके हमेशा खुशी मिलती है। वह कमाल की गायिका हैं और गाने की उनकी समझ ऐसी है जो बौद्धिक और भावनात्मक दोनों स्तरों पर गहरी है, जो मुझे लगता है कि बहुत कम लोगों में होती है।
I love working with Angel Deradoorian, she's a joy to work with. She's fab at singing and she has a real... she has an understanding that's both intellectual and emotional about singing, that I think that very few people have.
I love working with Angel Deradoorian, she's a joy to work with. She's fab at singing and she has a real... she has an understanding that's both intellectual and emotional about singing, that I think that very few people have.
अब जबकि वह एल्बम ['मॉडर्न वैम्पायर्स ऑफ द सिटी'] पूरा हो चुका है, तो मुझे उन चीज़ों पर दोबारा काम करने का समय मिल गया है जिन पर मैं इससे पहले काम कर रहा था। मुझे अकेले बैठकर संगीत पर काम करना वाकई बहुत मददगार लगा।
Now that that album's done [TModern Vampires of the City], I have time to revisit things that I was working on earlier, previous to it. I actually found it very helpful to be working on some music on my own.
Now that that album's done [TModern Vampires of the City], I have time to revisit things that I was working on earlier, previous to it. I actually found it very helpful to be working on some music on my own.
हमने जिन चीज़ों पर चर्चा की उनमें से एक थी 'मैमेंटो मोरी' का विचार—यानी हमारी नश्वरता की याद दिलाना—और इसलिए हम अपनी प्रेस तस्वीरों में इसी बात को व्यक्त करने की कोशिश कर रहे थे। और यह उस एल्बम ['मॉडर्न वैम्पायर्स ऑफ द सिटी'] के मुख्य विषयों में से एक भी है।
One of the things that we talked about was this idea of 'Memento Mori' - like the reminder of our own mortality - and so we were sort of trying to express that in our press photos. And it's one of the themes of the album [Modern Vampires of the City] as well.
One of the things that we talked about was this idea of 'Memento Mori' - like the reminder of our own mortality - and so we were sort of trying to express that in our press photos. And it's one of the themes of the album [Modern Vampires of the City] as well.
हमें लगता था कि एल्बम का नाम 'मॉडर्न वैम्पायर्स ऑफ द सिटी' रखना जितना मजेदार है, उतना ही यह गहरा और दमदार भी है।
We thought there was also something that was humorous but at the same time powerful and deep about naming the album, 'Modern Vampires Of The City'.
We thought there was also something that was humorous but at the same time powerful and deep about naming the album, 'Modern Vampires Of The City'.