Tal Wilkenfeld

So those are all the kinds of things I might be thinking about. But I don't like twists for the sake of twists either. I like twists because I want to hear something that might be fresh.

So those are all the kinds of things I might be thinking about. But I don't like twists for the sake of twists either. I like twists because I want to hear something that might be fresh.

But when someone does something just to be hip, it's annoying to me. I think you can hear the difference. It's like when people write in odd time signatures or they write all these riffs just because they can, just because they have the chops to do it or they know how to play in 11.16 and whatever. But if it's not...

But when someone does something just to be hip, it's annoying to me. I think you can hear the difference. It's like when people write in odd time signatures or they write all these riffs just because they can, just because they have the chops to do it or they know how to play in 11.16 and whatever. But if it's not...

But when someone does something just to be hip, it's annoying to me. I think you can hear the difference. It's like when people write in odd time signatures or they write all these riffs just because they can, just because they have the chops to do it or they know how to play in 11.16 and whatever. But if it's not...

actually creating a piece of music that's going to move somebody then why are you doing it and so i think a lot of the questions i'm asking myself when i'm approaching a song are mainly philosophical and aesthetic so you like to stand on the edge of the cliff not for the thrill of it but because that's where you find something new yeah potentially yeah and it's thrilling

actually creating a piece of music that's going to move somebody then why are you doing it and so i think a lot of the questions i'm asking myself when i'm approaching a song are mainly philosophical and aesthetic so you like to stand on the edge of the cliff not for the thrill of it but because that's where you find something new yeah potentially yeah and it's thrilling

actually creating a piece of music that's going to move somebody then why are you doing it and so i think a lot of the questions i'm asking myself when i'm approaching a song are mainly philosophical and aesthetic so you like to stand on the edge of the cliff not for the thrill of it but because that's where you find something new yeah potentially yeah and it's thrilling

I'm not doing it for the thrill. It just happens to be thrilling. All right. Because you can always reel it back in.

I'm not doing it for the thrill. It just happens to be thrilling. All right. Because you can always reel it back in.

I'm not doing it for the thrill. It just happens to be thrilling. All right. Because you can always reel it back in.

Yeah, you can. You can do a totally disciplined... I can go into a session and... Okay, my favorite thing about going into a session with musicians that I adore is that we don't hear the demo... Because if you hear a demo, you're hearing what the producer or songwriter have already imagined that every instrument is playing. And then it's like, well, I've already heard what you want.

Yeah, you can. You can do a totally disciplined... I can go into a session and... Okay, my favorite thing about going into a session with musicians that I adore is that we don't hear the demo... Because if you hear a demo, you're hearing what the producer or songwriter have already imagined that every instrument is playing. And then it's like, well, I've already heard what you want.

Yeah, you can. You can do a totally disciplined... I can go into a session and... Okay, my favorite thing about going into a session with musicians that I adore is that we don't hear the demo... Because if you hear a demo, you're hearing what the producer or songwriter have already imagined that every instrument is playing. And then it's like, well, I've already heard what you want.

Now my mind is, part of my mind is focused on what I already know you want and what the destination is going to be. Why did you bring me in here? I want to not hear it. I just want you to set it a piano and sing the song. I want to hear the chords and the lyric and sit in an acoustic guitar, play it, and then let's all go in the room and then take one.

Now my mind is, part of my mind is focused on what I already know you want and what the destination is going to be. Why did you bring me in here? I want to not hear it. I just want you to set it a piano and sing the song. I want to hear the chords and the lyric and sit in an acoustic guitar, play it, and then let's all go in the room and then take one.

Now my mind is, part of my mind is focused on what I already know you want and what the destination is going to be. Why did you bring me in here? I want to not hear it. I just want you to set it a piano and sing the song. I want to hear the chords and the lyric and sit in an acoustic guitar, play it, and then let's all go in the room and then take one.

I would say 80% of the time take one has the most gold. And there might be like a mistake or two or someone forgot to go to the B section. And you might want to like punch that in so that you're hitting the right chord. But all the magic is in that take. And then sometimes it happens where it's like you go, it's like we're rehearsing and take one, two, three, four, five.

I would say 80% of the time take one has the most gold. And there might be like a mistake or two or someone forgot to go to the B section. And you might want to like punch that in so that you're hitting the right chord. But all the magic is in that take. And then sometimes it happens where it's like you go, it's like we're rehearsing and take one, two, three, four, five.

I would say 80% of the time take one has the most gold. And there might be like a mistake or two or someone forgot to go to the B section. And you might want to like punch that in so that you're hitting the right chord. But all the magic is in that take. And then sometimes it happens where it's like you go, it's like we're rehearsing and take one, two, three, four, five.