Music Quotes
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Sometimes people talk about music, whether blogs or magazines, in a strange way where it doesn't seem like they're actually listening to it.
It's always about trying to make everything go with the music, like a script. It's not like, 'Let's have a confetti gun!' If I ever have one of those, it will be because it's absolutely the right thing at the moment in the song. I can't just go get a confetti gun.
We feel more and more intensely about the music we make. It's unexpected, and not always what you would think of in Beach House. It's all art in the end. We aren't making records because we have to; it's because it's what we want to express.
I personally do not listen to a lot of music. It helps keep my mind free. I don't want to sound like someone else from the get-go. I want to express myself and the world in my head.
I don't think my vocals demand effects. I like reverb to a certain extent, but I don't want to hide my voice. I like stripped-down vocals, but I also like crazy, powerful, doubled vocals like in dance or electronic music.
I'm an advocate for women to become more aware of the different positions in the music industry.
Action set pieces are my absolute favorite thing to write. I'm pretty much always in the mood to do them, but music certainly helps the process. I usually brainstorm out the dynamics and choreography of a fight to music beforehand - it gives me the little sparks of imagination when I get to the gaps in my own creativity.
I love rock music, dance music, so it depends on my mood. But I mainly listen to dance music before going out on court.
This quality, I mean Geoffrey was with me, was very easy doing - he loved me very much, I loved him very much, and we understood each other so well that it was a pleasure to make music.
With Geoffrey, it was the first time we did music together, we understood that everything could be well, and without any problem. And we didn't need to rehearse too much.
After that I won a prize, I was with a group of ancient music of Spain that they helped me a lot with a grant, you see, during three years. And so I made my debut in 1944 and I found myself helping my family, it was a very poor family.
I like what it is to sing, or to be with the others singing, to make music, but the fuss and all the things that are the exterior part of a career, has never interested me.
And after I compose my programs, but it is very easy because I look to the music in a very natural way without fuss, and so I look always music, in my home, like books and books and books, choose books and you read the pages, so I do this with music, and I make programs.
Yes, it must be something that goes very well with my voice, let's say something that I understand that this would be good communication with the others, and I don't pretend for instance, to look for music that would be something that doesn't go with my personality.
Thinking about the artists I've loved through the years, my favorites are the ones who've made music with cultural, societal and political significance.
Chicago, I feel, is a microcosm for the segregated, violent environment that is America. I try to not only speak about these things in music, but also try to address these things in real life tangibly with action.
I collaborated with so many people from Chicago - so many Black people, young Black women organizations like BYP100 and Assata's Daughters. Just being out there, I saw what a community mobilizing can accomplish in terms of freedom and how music and my words in my music can play a significant part in that.
Oftentimes I feel like I can, through the music, paint a picture of something that I can't look anywhere and see in my real life.
No I.D. helped me to just identify certain energies that I might not have really represented yet in the music that he picked up on just in my personality, or in the person he perceived me to be.
I've been designing since I was 8. I started sketching dresses I could wear when skating. I was always involved in all aspects of skating, not just the technique, the choreography, the music, but the visual aspects, too - what I should wear.
I want to be in control of how my music is released and how I create it. What people don't talk about when they talk about major labels is how many artists get dropped or funding gets dropped when they don't recoup quick enough.
I'm disregarding all the rules I've seen as people approach writing music. I'm trying to break them.
Well, we like to let down our hair and pep it up at the dances, but we keep it slower when we broadcast. We have to please everybody, and that softer music appeals to the larger amount of people. It's like eating too much cake. You have to have your steak too.
I look forward the day that I could work on my farm, create music, write books, and be with the wife and kids around the clock - and live a normal life.
Burzum is not a political or religious band, or even an anti-religious band. Burzum is music - art if you like - and the interpretation of art lies in the eye of the beholder.
I only want to make music I like and that I can enjoy myself and be proud of.
I must say it was not very inspiring to see that tons of new bands emerged from nowhere and started to play the exact same music as I did. Why would I want to play this type of music, when tons of other bands did, too?
Venom was a joke in the '80s, their heavy metal music sucked big time, and I really have no interest in them - not then, not now.
Until I was around 12 or 13, I only listened to classical music, mostly Tchaikovsky. But around that age, I started listening to Iron Maiden, and that's when I purchased my first guitar, a pearl-white Westone.
I just make music. If you don't like it, you don't need to buy or listen to it.
The stage is the best experience in the world. It's a great compliment to be able to share the music, because people can hear my album but they don't get to make the connection in the same way as when it's one-to-one.
I was in a music class when I was little, and they discovered I had a talent and could sing. From there, I joined this singing troupe in California, and I would just go sing at festivals in this girl group and perform as much as I could.
Well, my mom taught public school music for almost 40 years. And she's about 5 feet - and very mighty. And she would control her kids a lot by giving them the eye, or the stare.
I think it was inevitable that I get into synthesizer music. I always wanted to deal with sound more than anything else. I couldn't get the sounds I wanted out of the piano.
If I've made money from music, it was never my aim to do that. I didn't do it to become famous.
I'm a composer. I know nothing about money and commercial stuff. I just write music.
I prefer to have the music as pure as possible. I don't want to say, 'Oh yes, this is good. This is not good; I have to do it again.' I don't want to do it again. I want to do it once. It's no good, I do another one.
Music dominates the universe. It is the prime force. It has given shape to space.
I got caught up on drugs for a few years, I'm off it, I'm very happy, got two kids and a family and everything. And like I said I'm making the underground music, and keeping it real.
I use the music to vent, and a lot of the stuff that I am writing about or was writing about contained a lot of anger and anxiety, stress and depression, so that's how the album came out so dark.
I used the music kind of as therapy, and it's just amazing that I feel so free after doing that. I feel like I had it trapped inside of me and now I feel free. So it's been a very good therapy session for me as well.
I know this will blow your mind, but most people would probably never ever get it, but I listen to classical music when nobody else is around. It calms me down and I can get into this, like, deep thinking mode, you know, because there's really no lyrics to it, so you're not following something that - that you're listening to a story.
I don't listen to my old music of Vanity's unless I have to hear it playing in a mall or something place like that.
I actually write film music because I'm classically trained on the piano so as well as songwriting I also write actual film music that could be used for movies like war movies and love movies.
When I was younger, my dad was making a music video for a band in Montreal. I was goofing around and being a ham. An agent was there and she was telling me, 'Hey, do you think you'd want to go out on auditions?' I was like, 'Yeah, what's an audition? Sure, I'll do it.'
You can't stay the same. If you're a musician and a singer, you have to change, that's the way it works.
When you listen to my music, you hear that there are all these voices going on in different parts of the song. That's because I was always around so many voices in church.
Both my grandmothers had upright pianos, and I just knew how to play since I was a child. Nobody taught me. I sounded like a grown-up, and then I learned how to read music. I played so well by ear I could fool the teacher to believe I could play the notes. She'd make the mistake of playing the song once, and I could play it.
I like to work smart and make music that people want to hear - just finding ways to not get on people's nerves when I'm coming through their ears.
I rarely like the music I make. It's like nothing's good enough. I just stay in my head, waiting on the next best beat, so I can do something better than what I did.
I want to work very hard on music, put out a lot of nice product - good quality product - and then just help people out, like a Gucci Mane, like a Future... like a Prince, like a Michael Jackson.
I'm hands-on with everything. From music to a car to remodeling a house - anything. People don't know that stuff, though, 'cause I put all my focus into music and being mysterious a little bit.
My goal for the rap game is just to make a lot of really dope music. That's really where I keep my mindset at: Just being obsessed over making something crazy and new every day.
There were a few labels scouting me, but I felt like G.O.O.D. had my best interest at heart. They gave me the freedom to really do what I want, which is to expand my brand, make great music, and find ways to elevate my sound.
I'm not a propaganda machine. I tell things how I see them. When I say, for example, that corruption is not the only thing the West should think about when they think about Nigeria, I'm not saying it doesn't exist but that people have the complete wrong focus. There's music, there's art, there's culture.
It had never occurred to me before that music and thinking are so much alike. In fact you could say music is another way of thinking, or maybe thinking is another kind of music.
I learned how music works dealing with Jermaine Dupri, and I learned how image works dealing with Puff Daddy.
I like to release music the way I feel it, as opposed to having a date. The idea of dates, boxes, categories are very scary for me.
My music is about where I am at the time. In 'Raymond vs. Raymond,' I was going through a lot of things, and it came out in my music. My marriage fell apart, and I was suddenly a single father.
When I was in Utah there, first learning the kind of music I love, my favorite singer was T. Texas Tyler. So my friend, Norman Ritchie, the traveling teenage sage, started calling me U. Utah Phillips.
'Rangeela' and 'Daud' are both exciting films. The songs, the music, the dances - they all blend so well.
The thing is, I make music I like. So it's just weird if someone says they don't like it.
I don't have a therapist, so I use me as my own therapist when I'm making the music.
I want to take Justin Bieber for a month and just lock him up in a cage where we sit and make music. He's one of the most successful people in the world, but his music could be so much tighter.
It's about giving the people what they want. So many people have told me that they've made love to my records so what I've delivered this time is an album about sex. Pretty much every song has that theme. Straight no chasers, it's booty music!
I have come to terms with the fact that it's called pop music - that's what I play, and that is what I write. I think it is a pretty broad category.
I am an actor, and although I love music, and at times can't live without it, I eat, sleep, breath, sweat, and bleed acting.
It is true that if you hear our music described, it sounds unappealing. I used to laugh and agree with people when they said it didn't make any sense.
I didn't know that there were many rules in music when I first started writing.
Music can connect people on an intimate level. What Josh and I are trying to do is represent anyone who has some of the questions that we have.
When you write music that expresses doubt or concern, or talks about some of the darker things that a developing human goes through, people will come out of the woodwork to listen to someone else say it out loud.
When Josh and I are recording a record, we're very mindful of how the music will manifest itself live. That's where we have to live every day. When we tour for the next record, I imagine there will be a new story to tell, and we'll introduce new characters.
I've always appreciated more guitar-driven and, in general, just rock music; that's what I listen to. I don't really listen to electronic music.
I was always a visual artist my whole life, and I came to music really late - when I was 21 or 22 was the first time I ever touched a musical instrument. For me, it was always this fun side hobby.
The big thing on the horizon for me is video. I feel like it's the closest thing to a perfect mix between music and design, because it has the motion and it has the dynamics of music, while at the same time having the aesthetic components of design. It's a nice mix.
I studied computer science and graphic design, yeah, so music was self-taught and a backburner thing, an obsessive hobby.
I've always had an overwhelming desire to express a particular set of ideas. As a musician, I'm always working with different people who can teach me new things and, through that, reach closer to an idea of this perfect expression. I'm never setting out to change the face of electronic music; I'm just trying to define this vision.
I've always been good about interfacing with machines. But that never seemed like a gateway to being able to make music. I never made the connection that music could be made with machines - that was what drum and bass was for me.
I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.
I like tweaking the studio and wiring things up almost as much as making music, so that's kind of a hobby of mine, in and of itself. I don't like to collect gear that I know I'm not going to use, though.
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