Comments on: Sit on the floor

By: Grandfather

Grandfather — Sat, 01 Mar 2014 19:27:09 +0000

hahahahahaha! thank you for saying all that’s true, it’s all because people love it so much, music itself, and they want to be part of it and so farting in that elevator and asking whathappen is just exactly right, you made grampa’s day, write more music, please, never stop.

By: Kat

Kat — Thu, 13 Feb 2014 19:34:05 +0000

Stunning story there. What occurred after?

Take care!

By: Geoff

Geoff — Mon, 10 Feb 2014 12:58:25 +0000

Hi Nico! I’m a composer who is close to finishing undergrad, and I’ve got a “What is it like(TM)”-type question for you, but this time it’s about process. You write I think a couple of fucktons of music (I think Taruskin defines that somewhere, no?) and what I’ve heard of it is good, which is incredible, so how do you do that? I’ve always got ideas for pieces, but there are simply not enough hours in a day to pull off your kind of output. How do you get initial ideas down? How do you plan things? Is everything set before you start writing pitches and rhythms? How do you conceive of development or melody or orchestration or…? I realize these are big questions…maybe you could do a blog post about it?? I’d be super grateful!

Thanks!
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By: Emma

Emma — Mon, 10 Feb 2014 02:07:50 +0000

I’m deeply in love with the fact that Reflektor is essentially the ultimate retort to Frere-Jones’s criticism. I actually hadn’t even read the article until just now and I chuckled at his mention of Sandinista! because when Reflektor came out I more or less ran up to all of my music-loving friends and shouted “DOESN’T IT SOUND LIKE SANDINISTA-ERA CLASH” and then fell over.