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Caroline Polachek Quotes

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You'll see every kind of New Yorker in there. You really feel like you're in the belly of the beast when you're in Union Square.

One of the goals we had when making 'Moth' was to have the vocals sound less treated and less processed than we'd ever had before, to just let them be exposed and very audible.

Arcadia' was started and finished at the Medici villa in Rome.

I really admire people's interactions with technology that aren't tech-centric but use it as a tool.

Many of the elements associated with storybook mythology and gothic aesthetics are actually not expressive.

One of my biggest Disney influences in terms of world-building on this record was a background painter named Eyvind Earle, who was working in the '50s. He would make hyper-modern shapes that were sharp retellings of pastoral themes.

Music feels so environmental to me, especially the process of working with synths or mixing. I started thinking about music as a psychological landscape as well. It's a landscape of the mind.

Being a musician, there aren't that many ways for me to consciously use a more strategy, math-based part of my brain.

But I studied art in Belgium from the age of 17 to 18, and I learned French when I was there. Very reluctantly so. I didn't do a very good job. For the first six months I was very depressed...

I just started studying opera - very, very much as hobby - and for some reason I've been gravitating toward French composers, like a lot of Debussy and Faure. I find it a really sinuous and spooky language to sing...

Well working by yourself, especially when no one knows about it, is totally liberating because it's very impulse-driven. You work when you want to work. You work when you can work. No deadlines. No conversation. No compromise. No help.

But I never imagined that I could ever have a career in music. I always thought it was like a mafia, that you had to sell your soul and know the right people and be in the right place.

Low' was probably the album that influenced me more than any other, because of how it combined humor and impressive, glamorous, driving energy with this totally surreal soundscape production.

I have an opera coach who I went to as a teenager, when I was 15 and 16 years old. When I went to college, I forgot about it.

The men's dance style in dancehall is territorial, but it's also flirtatious and it's also showing off strength by way of smooth movement that you can only do if you're really strong. It has so much attitude.

As soon as we wrote the beat for 'Romeo,' I knew it was a running song. I was thinking about it in terms of the body. What do you want to do? It's not a song you want to dance...

I was born in New York, but I grew up in Greenwich, Connecticut - that's where I went to school. I remember begging my way into choir in the 3rd grade, because you're not supposed to get in until 4th...

I was into music from a very early age, and I was also - I don't really talk about this that much - really into horses. I learned a lot about rhythm and about voice from that.

Growing up, I was so compelled by artists whose looks were inseparable from their music. Bjork was my hero.

Before I play a show, I put on lavender oil - it's sort of a ritual.

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