Show us a cityscape.
Show us your favorite sunset picture.
Submitted by B. Mag.
Audio: If you could sing like anyone, living or dead, who would you choose to sound like? Share a song of theirs.
Submitted by aa.
I like my singing voice, but I think of it as a fat crayon and myself as a bit of a toddler. One day I aspire to pencildom, and perhaps simple line drawings. Not everyone can be Leonardo da Vinci. That's why I'm glad
Wacom tablets GarageBand or Pro Tools and autotune came along. (Not everyone should use them on every Top 40 hit, mind you, but I can appreciate technology without advocating its indiscriminate use.)
When I was a kid? Lou Rawls, Johnnie Wilder Jr. or Bobby Womack. When I was a teenager? Prince, George Michael, Lionel Richie or Sade. When I was twentysomething? Philippe Wynne, N'Dea Davenport or Maxwell. Now? I don't know, someone who could just plant their feet in front of you and saloon-croon or pub-belt it out.
Video: Show us your favorite movie scene.
Submitted by Caroline.
Audio: Share one of your favorite songs from 2006.
and the writer, Mark Pytlik, said that you could tell in a few moments
it was a Herbert track. And I think that's true; despite how different
your records sound from each other, there is something there, a thread
through them. I know that at various times you've talked about music as
a way of getting away from ego, but I do feel like there is something
you can't get away from. I'm not sure exactly what it is; to me it
seems like a rhythmic sensibility that informs your work, a swing that
sound like Herbert. Are you aware that a part of yourself is in there,
regardless of the materials you're working with?
MH: I'm not. I'm really not. I know I have patterns and I've always
tried hard to avoid them. There are definitely certain things in my
music, if I'm looking back, "Well, that was a period where I was
experimenting with a certain kind of chord structure or a certain kind
of sound." I've tried really hard, but I'd be hard pressed to tell you
what that sound, what that tangible sound of "me" is. I think rhythm
is, when you talk about rhythmic sensibility, quite perceptive in that
I like to have at least one thing that is at least common or familiar
to the audience. Other than rhythm, the only thing I could say is that
I take a great deal of pride in every single sound I use. I'm always
making sure that I'm not using a pre-set or something that everyone
else has done. I try to be original in every piece of music I do, and
of course I probably fail every time.
Pitchfork: Let me ask you– that moment in "Something Isn't
Right" where he sings, "Do you re-mem-ber?" First time I heard that it
reminded me of "September" by Earth Wind & Fire. I was sitting with
my wife and I asked her, Do you think that's a direct reference to that
song, or is it just a few notes that sound similar?
MH: There is a very slight reference there. It's a reference to the
11th of September because that's what the Earth Wind & Fire tune
was called. I almost had it "Do you remember? The 11th of September?"
But there was no way I could possibly put that in.
Pitchfork: So that's the kind of reference you're talking about, where you embed those kinds of things in the music.
MH: Exactly. And the record's full of them in different places. It's
kind of like, trying to use every weapon in your arsenal to point
people in a certain direction.