Chords for Ariel Pink interview | 2012 | The Drone
Tempo:
94.45 bpm
Chords used:
D
Ab
E
Eb
Bm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Abm] I think people lose sight of the idea of how much experimenting with sounds and making
mistakes and stuff like that really produced some of the best music out there in the beginning.
I think the experimental spirit needs to be, there's a question that's in music that was
always there up until a certain point and then it stopped being the question and ever
since then it's gone.
So I'm kind of like waving my hand and I'm saying, wait, [E] wait, wait, we [Bm] still haven't
answered the question yet.
The [D] question [Ab] still needs to be answered.
[D] [Bm] [A]
[Bm] [D] [B]
[Bm] [Ab] [Db]
Little [E] man, [D]
born of [B] man, [Dbm] [Bm] [E] born of woman, [Em] [B] [Ab] little man, [D] change me, [E] I'll change [D] you day to day.
[Abm] [A] [Bm]
I [Eb] didn't have a very good voice and I didn't [Dbm] play any instruments very well so my parents
didn't say, oh, get him into a recording studio.
So it was very much my own very defiant [E] belief and interest in music that made me pursue
it [G] and a lot of times [E] I pursued it [Bm] on record, making music privately [Eb] as a way to rebel.
But recording has been very much an instrument that I've learned the entire time.
I've essentially learned how to play all the instruments on tape, on record.
So when you listen to the recordings, they're an active document of me learning how to play things.
Less [Bm] in his wedge.
And in my [F] wedge it's good.
But can I have, [Dm] can we get [Ab] more, you know, not so
[Gbm]
I need the keyboards off in the drum wedge.
[E]
[Db] It's a new board.
[F] [G]
[Ab] [Fm] [Ab]
[Gm] Fishies in my [Ab] room, [G] fishies [Ab] in my [D] room.
I can [Eb] see dead bodies outside the [F] screen, [Eb] fishies in my [D] room.
[Ab] Fishies in my [Eb] heart, [Ab] fishies in my [Eb] soul.
There are no [G] pictures watching [F] me, fishies [G] in my soul.
[D] The most important part of any music [A] record is the production.
So [G] it's the [D] way that the [Gm] instruments sit with each other and the way that the drums sit with the bass and all that kind of [Fm] thing.
So it does sound [G] cheap because it is cheap, but there's stuff that's recorded on [Eb] just as cheap equipment,
but recorded with the mix so that it sounds very digital and it sounds wrong to me.
It's the last part of the mix to make it to the final product, so it's the most important part.
[D] I can almost make anything sound good or sound the way I can like it.
It doesn't matter how the musicians play it, you know.
Now, you specialize in home recording, which means
I got my mic.
Tell us what that means.
You record in the privacy of your own home.
Is that [A] correct?
That's right.
Now, how do you do that?
Did you [Db] start out doing that as a joke, thinking that was funny?
No, no, no, no, no, no.
High art form?
[N] High art form.
Well, besides all of that, I'm not prepared to answer that question.
No?
No, sure I am.
It's [Db] easy.
It's easy.
It's the simplicity involved.
You bypass all of the other people involved with the recording process.
[Ab] Cheaper. It's cheaper? It's cheaper.
You should know about that.
[Eb] Oh, God.
The only reason we work together is because we're so close.
I just don't think that you can take it away [D] from me.
Steven Moore [A] is [N] generally known as the godfather of home recording.
[D] He's just very, very good [Abm] at playing [Eb] music and having a general overall
He listens to everything, so he's an omnivore.
He [Ab] listens to all sorts of music, [A] and he [B] killed the whole idea of rock and roll to me.
I
[G] couldn't be a Led Zeppelin anymore.
I couldn't trash hotel rooms and act like an idiot and act like I love myself and all that [C] stuff.
So he just made it very, very easy for me to be myself in a sense.
I felt very, [Ab] very comfortable with just being who I was and having him as a model in terms of being somebody who's just themself
and not just going through the machine and trying to be something [Dbm] they're not.
I mean, it's a huge, [Gbm] huge honor.
[E]
[Gbm]
[Gb] [Gbm] [Dbm] [Gbm]
[Dbm] [Gbm] Thank you.
[E] [B]
mistakes and stuff like that really produced some of the best music out there in the beginning.
I think the experimental spirit needs to be, there's a question that's in music that was
always there up until a certain point and then it stopped being the question and ever
since then it's gone.
So I'm kind of like waving my hand and I'm saying, wait, [E] wait, wait, we [Bm] still haven't
answered the question yet.
The [D] question [Ab] still needs to be answered.
[D] [Bm] [A]
[Bm] [D] [B]
[Bm] [Ab] [Db]
Little [E] man, [D]
born of [B] man, [Dbm] [Bm] [E] born of woman, [Em] [B] [Ab] little man, [D] change me, [E] I'll change [D] you day to day.
[Abm] [A] [Bm]
I [Eb] didn't have a very good voice and I didn't [Dbm] play any instruments very well so my parents
didn't say, oh, get him into a recording studio.
So it was very much my own very defiant [E] belief and interest in music that made me pursue
it [G] and a lot of times [E] I pursued it [Bm] on record, making music privately [Eb] as a way to rebel.
But recording has been very much an instrument that I've learned the entire time.
I've essentially learned how to play all the instruments on tape, on record.
So when you listen to the recordings, they're an active document of me learning how to play things.
Less [Bm] in his wedge.
And in my [F] wedge it's good.
But can I have, [Dm] can we get [Ab] more, you know, not so
[Gbm]
I need the keyboards off in the drum wedge.
[E]
[Db] It's a new board.
[F] [G]
[Ab] [Fm] [Ab]
[Gm] Fishies in my [Ab] room, [G] fishies [Ab] in my [D] room.
I can [Eb] see dead bodies outside the [F] screen, [Eb] fishies in my [D] room.
[Ab] Fishies in my [Eb] heart, [Ab] fishies in my [Eb] soul.
There are no [G] pictures watching [F] me, fishies [G] in my soul.
[D] The most important part of any music [A] record is the production.
So [G] it's the [D] way that the [Gm] instruments sit with each other and the way that the drums sit with the bass and all that kind of [Fm] thing.
So it does sound [G] cheap because it is cheap, but there's stuff that's recorded on [Eb] just as cheap equipment,
but recorded with the mix so that it sounds very digital and it sounds wrong to me.
It's the last part of the mix to make it to the final product, so it's the most important part.
[D] I can almost make anything sound good or sound the way I can like it.
It doesn't matter how the musicians play it, you know.
Now, you specialize in home recording, which means
I got my mic.
Tell us what that means.
You record in the privacy of your own home.
Is that [A] correct?
That's right.
Now, how do you do that?
Did you [Db] start out doing that as a joke, thinking that was funny?
No, no, no, no, no, no.
High art form?
[N] High art form.
Well, besides all of that, I'm not prepared to answer that question.
No?
No, sure I am.
It's [Db] easy.
It's easy.
It's the simplicity involved.
You bypass all of the other people involved with the recording process.
[Ab] Cheaper. It's cheaper? It's cheaper.
You should know about that.
[Eb] Oh, God.
The only reason we work together is because we're so close.
I just don't think that you can take it away [D] from me.
Steven Moore [A] is [N] generally known as the godfather of home recording.
[D] He's just very, very good [Abm] at playing [Eb] music and having a general overall
He listens to everything, so he's an omnivore.
He [Ab] listens to all sorts of music, [A] and he [B] killed the whole idea of rock and roll to me.
I
[G] couldn't be a Led Zeppelin anymore.
I couldn't trash hotel rooms and act like an idiot and act like I love myself and all that [C] stuff.
So he just made it very, very easy for me to be myself in a sense.
I felt very, [Ab] very comfortable with just being who I was and having him as a model in terms of being somebody who's just themself
and not just going through the machine and trying to be something [Dbm] they're not.
I mean, it's a huge, [Gbm] huge honor.
[E]
[Gbm]
[Gb] [Gbm] [Dbm] [Gbm]
[Dbm] [Gbm] Thank you.
[E] [B]
Key:
D
Ab
E
Eb
Bm
D
Ab
E
_ _ _ _ _ _ _ _
_ _ [Abm] I think people lose sight of the idea of how much experimenting with sounds and making
mistakes and stuff like that really produced some of the best music out there in the beginning.
I think the experimental spirit needs to be, there's a question that's in music that was
always there up until a certain point and then it stopped being the question and ever
since then it's gone.
So I'm kind of like waving my hand and I'm saying, wait, [E] wait, wait, we [Bm] still haven't
answered the question yet.
The [D] question [Ab] still needs to be answered.
[D] _ _ _ [Bm] _ [A] _
_ [Bm] _ _ _ [D] _ _ [B] _ _
[Bm] _ _ _ [Ab] _ _ _ [Db] _
Little [E] man, _ _ _ [D] _
born of [B] man, _ [Dbm] _ [Bm] _ [E] born of woman, [Em] _ _ [B] _ _ [Ab] little man, _ _ [D] change me, [E] I'll change [D] you day to day.
[Abm] _ _ [A] _ [Bm]
I [Eb] didn't have a very good voice and I didn't _ [Dbm] play any instruments very well so my parents
didn't say, oh, get him into a recording studio.
So it was very much my own very defiant [E] belief and interest in music that made me pursue
it [G] and a lot of times [E] I pursued it [Bm] on record, making music privately [Eb] as a way to rebel.
But recording has been very much an instrument that I've learned the entire time.
I've essentially _ _ learned how to play all the instruments on tape, on record.
_ So when you listen to the recordings, they're an active document of me learning how to play things.
Less [Bm] in his wedge.
And in my [F] wedge it's good.
But can I have, [Dm] can we get [Ab] more, you know, not so_
[Gbm] _
_ I need the keyboards off in the drum wedge.
[E] _
_ _ [Db] It's a new board.
[F] _ _ [G] _
_ [Ab] _ _ [Fm] _ _ _ [Ab] _ _
[Gm] Fishies in my [Ab] room, [G] fishies [Ab] in my [D] room.
I can [Eb] see dead bodies outside the [F] screen, [Eb] fishies in my [D] room.
_ [Ab] Fishies in my [Eb] heart, [Ab] fishies in my [Eb] soul.
There are no [G] pictures watching [F] me, fishies [G] in my soul.
_ _ [D] The most important part of any music [A] record is the production.
So [G] it's the [D] _ way that the [Gm] instruments sit with each other and the way that the drums sit with the bass and all that kind of [Fm] thing.
So it does sound [G] cheap because it is cheap, but _ there's stuff that's recorded on [Eb] just as cheap equipment,
but recorded with the mix so that it sounds very digital and it sounds wrong to me.
It's the last part of the mix to make it to the final product, so it's the most important part.
_ [D] I can almost make anything sound good or sound the way I can like it.
It doesn't matter how the musicians play it, you know.
Now, you specialize in home recording, which means_
I got my mic.
Tell us what that means.
You record in the privacy of your own home.
Is that [A] correct?
That's right.
Now, how do you do that?
Did you [Db] start out doing that as a joke, thinking that was funny?
No, no, no, no, no, no.
High art form?
[N] High art form.
Well, besides all of that, I'm not prepared to answer that question.
No?
No, sure I am.
It's [Db] easy.
It's easy.
It's the simplicity involved.
You bypass all of the other people involved with the recording process.
[Ab] Cheaper. It's cheaper? It's cheaper.
You should know about that.
[Eb] Oh, God.
_ The only reason we work together is because we're so close.
I just don't think that you can take it away [D] from me. _
_ _ _ _ _ Steven Moore [A] is _ [N] generally known as the godfather of home recording.
[D] He's just very, very good [Abm] at playing [Eb] music and having a general overall_
He listens to everything, so he's an omnivore.
He [Ab] listens to all sorts of music, [A] and he [B] killed the whole idea of rock and roll to me.
I _ _
_ _ [G] couldn't be a Led Zeppelin anymore.
I couldn't trash _ hotel rooms and act like an idiot and act like I love myself and all that [C] stuff.
So he just made it very, very easy for me to be myself in a sense.
I felt very, [Ab] very comfortable with just being who I was and having him as a model in terms of being somebody who's just themself
and not _ _ just going through the machine and trying to be something [Dbm] they're not.
I mean, it's a huge, [Gbm] huge honor. _ _ _
_ _ _ _ _ _ [E] _ _
_ _ _ [Gbm] _ _ _ _ _
_ _ _ _ _ _ _ _
_ [Gb] _ [Gbm] _ _ _ _ [Dbm] _ [Gbm] _
_ _ _ [Dbm] _ [Gbm] Thank _ you.
[E] _ _ _ _ _ [B] _ _
_ _ [Abm] I think people lose sight of the idea of how much experimenting with sounds and making
mistakes and stuff like that really produced some of the best music out there in the beginning.
I think the experimental spirit needs to be, there's a question that's in music that was
always there up until a certain point and then it stopped being the question and ever
since then it's gone.
So I'm kind of like waving my hand and I'm saying, wait, [E] wait, wait, we [Bm] still haven't
answered the question yet.
The [D] question [Ab] still needs to be answered.
[D] _ _ _ [Bm] _ [A] _
_ [Bm] _ _ _ [D] _ _ [B] _ _
[Bm] _ _ _ [Ab] _ _ _ [Db] _
Little [E] man, _ _ _ [D] _
born of [B] man, _ [Dbm] _ [Bm] _ [E] born of woman, [Em] _ _ [B] _ _ [Ab] little man, _ _ [D] change me, [E] I'll change [D] you day to day.
[Abm] _ _ [A] _ [Bm]
I [Eb] didn't have a very good voice and I didn't _ [Dbm] play any instruments very well so my parents
didn't say, oh, get him into a recording studio.
So it was very much my own very defiant [E] belief and interest in music that made me pursue
it [G] and a lot of times [E] I pursued it [Bm] on record, making music privately [Eb] as a way to rebel.
But recording has been very much an instrument that I've learned the entire time.
I've essentially _ _ learned how to play all the instruments on tape, on record.
_ So when you listen to the recordings, they're an active document of me learning how to play things.
Less [Bm] in his wedge.
And in my [F] wedge it's good.
But can I have, [Dm] can we get [Ab] more, you know, not so_
[Gbm] _
_ I need the keyboards off in the drum wedge.
[E] _
_ _ [Db] It's a new board.
[F] _ _ [G] _
_ [Ab] _ _ [Fm] _ _ _ [Ab] _ _
[Gm] Fishies in my [Ab] room, [G] fishies [Ab] in my [D] room.
I can [Eb] see dead bodies outside the [F] screen, [Eb] fishies in my [D] room.
_ [Ab] Fishies in my [Eb] heart, [Ab] fishies in my [Eb] soul.
There are no [G] pictures watching [F] me, fishies [G] in my soul.
_ _ [D] The most important part of any music [A] record is the production.
So [G] it's the [D] _ way that the [Gm] instruments sit with each other and the way that the drums sit with the bass and all that kind of [Fm] thing.
So it does sound [G] cheap because it is cheap, but _ there's stuff that's recorded on [Eb] just as cheap equipment,
but recorded with the mix so that it sounds very digital and it sounds wrong to me.
It's the last part of the mix to make it to the final product, so it's the most important part.
_ [D] I can almost make anything sound good or sound the way I can like it.
It doesn't matter how the musicians play it, you know.
Now, you specialize in home recording, which means_
I got my mic.
Tell us what that means.
You record in the privacy of your own home.
Is that [A] correct?
That's right.
Now, how do you do that?
Did you [Db] start out doing that as a joke, thinking that was funny?
No, no, no, no, no, no.
High art form?
[N] High art form.
Well, besides all of that, I'm not prepared to answer that question.
No?
No, sure I am.
It's [Db] easy.
It's easy.
It's the simplicity involved.
You bypass all of the other people involved with the recording process.
[Ab] Cheaper. It's cheaper? It's cheaper.
You should know about that.
[Eb] Oh, God.
_ The only reason we work together is because we're so close.
I just don't think that you can take it away [D] from me. _
_ _ _ _ _ Steven Moore [A] is _ [N] generally known as the godfather of home recording.
[D] He's just very, very good [Abm] at playing [Eb] music and having a general overall_
He listens to everything, so he's an omnivore.
He [Ab] listens to all sorts of music, [A] and he [B] killed the whole idea of rock and roll to me.
I _ _
_ _ [G] couldn't be a Led Zeppelin anymore.
I couldn't trash _ hotel rooms and act like an idiot and act like I love myself and all that [C] stuff.
So he just made it very, very easy for me to be myself in a sense.
I felt very, [Ab] very comfortable with just being who I was and having him as a model in terms of being somebody who's just themself
and not _ _ just going through the machine and trying to be something [Dbm] they're not.
I mean, it's a huge, [Gbm] huge honor. _ _ _
_ _ _ _ _ _ [E] _ _
_ _ _ [Gbm] _ _ _ _ _
_ _ _ _ _ _ _ _
_ [Gb] _ [Gbm] _ _ _ _ [Dbm] _ [Gbm] _
_ _ _ [Dbm] _ [Gbm] Thank _ you.
[E] _ _ _ _ _ [B] _ _