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We interview Portugal. The Man in NYC. Chatting with them about alter egos, home, and the creative process.
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Transcript Provided by YouTube:
00:11
when I go back to Alaska I’m sitting
00:13
down watching TV with my dad I totally
00:17
forget that I play in a band I mean I
00:19
really do and I always say that I can’t
00:21
be like be Jason and Ryan and Zach all
00:27
play in a band it’s really bizarre
00:40
portugal and what it was meant to be
00:43
like an alter ego it’s safe Ziggy
00:45
Stardust or Sergeant Pepper I guess
00:48
knowing that it would always be a band
00:50
or a group of people we just started
00:53
talking about different countries being
00:55
this guy’s name just because I can a
00:58
country is uh it’s an individual in the
01:02
world but it’s also a group of people
01:04
and it has one boys so Portugal the
01:08
salad best
01:14
this
01:19
I look at music the way you would I mean
01:24
because I was raised in carpentry I look
01:26
at it in that way it’s like a it’s like
01:29
any other trade and you you learn it
01:32
need develop it in your own way and I
01:34
think that’s how you you can find here
01:37
your own sound and find something unique
01:39
within it it is a formula it is
01:42
something everybody knows when you sit
01:44
down to draw house plan you know that
01:46
you need four walls and a roof it’s just
01:49
what you put within the house that makes
01:51
it your own I wish it was that easy if
01:56
we can sit down a Saturday but can say
01:57
like you cross it up a list yeah we
02:01
seems like
02:06
community Alaska of the travel Europe be
02:11
honest are being with each other all
02:12
time like and everything on your
02:14
instrument it just kind of
02:17
it’s conscious and it’s not you know
02:19
it’s like
02:33
surtees
02:41
I think music painting them it’s it’s
02:47
all it’s all relative you know it’s all
02:49
you know when you when you’re painting
02:51
something you know the sounds that went
02:55
into this you know the actions that have
02:58
things that happen with any brain that
03:00
brought the surround every every visual
03:03
has a saddle I think given some really
03:12
great filmmakers and approve that 2001
03:15
Space Odyssey Cooper catechu it was
03:17
obviously really really really good at
03:20
it you know everything about two
03:23
thousand one is amazing because through
03:25
the music and the visual carries so much
03:27
about a movie going there’s almost no
03:30
dialogue it’s very cool I think things
03:35
like that show that really well that the
03:38
music is necessary and something that I
03:41
wish more directors we’ve taken a
03:43
consideration because it’s amazing when
03:46
it happened it just so really knows
04:01
I think we’ve really avoided being like
04:05
a rock band in a way I think from the
04:09
beginning we always try to recognize the
04:11
fact that you know the beetle as being
04:13
my favorite man I mean that they wrote
04:15
the long one you wrote one road two of
04:19
us and then helter skelter you
04:22
know they are about then rock rock and
04:25
roll is just expression it’s not a sound
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Previously published on YouTube.
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Photo credit: Screenshot from video
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