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I’m always on a train or a plane, so wherever I happen to be is home.
– Keren Ann
I was in the studio so much, it was about the search for air in a metaphoric sense, and the breathing has more to do with travel for me, about the search musically for open air.
It’s always a mixture of fiction and your own story. It’s more I recreate atmospheres and moods through songs.
I think it’s very good to have regrets, to learn how to live with them.
When you write songs, you can’t really point out the exact thing you’re inspired by. It’s more a state or a mood or an atmosphere that you’re trying to put into words.
So usually even if you like a sentence or a story or something, it won’t come out that way – it’ll come out years later, and in a different way, and you don’t really control that.
When you record, you live with what you recorded for many many years, but when you play it’s just an hour and a half and then once it’s over it’s over.
I think many experiences are bound to be failures, and sometimes I regret them before they even happen.
Sometimes you’re trapped in writing songs and you don’t have enough distance from what you do anymore and you need the talent and the years of other people to come and jump in.
Well, I grew up between Holland and Israel and then moved to France when I was eleven.
I’m very attached to Paris because I have a base there and am also recording there, but New York is home to me when I’m in the U.S., because it’s nice to have a bed to go back to.
If I look at it, it’s about being able to get lost in New York, to explore the city, to have more personal stories about New York, although some could also take place in Paris.
I’m nothing more than what you actually see, but I am also the complete opposite.
It was an hour and a half plane ride, so I slept. I try to sleep because that’s probably the only time I get to get my real sleep. When I can’t sleep I read books or watch movies.
Everything is temporary. Everything is bound to end.
I spend a lot of time writing in New York.