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Shaheed Diwas 2026
Whenever I think about movies, I always look at that art process as having the best of a lot of worlds. Because if you watch a great film, you have a musical element to it, not just on the scoring, but in the way that the shots are edited - that has music and rhythm and time.
I've always wanted to do non-comedies. I've always done dramas, comedies, music, and I always like to bop around and do different things.
When you break it all down, my punk rock is my dad's blues. It's music from the underground, and it's real, and it's written for the downtrodden in uncertain times.
The best music happens when you have a personal connection to it. That same philosophy can extend to the instrument you hold in your hands: if a guitar means something special, you're bound to do great things with it.
My dad was very influential with the music he exposed me to. He was really into blues and folk, so he'd play me guys like Muddy Waters and T-Bone Walker and Richie Havens - a lot of very emotional players.
I'm not saying that people have to listen to rock music. It's a great, cool thing and it can really be liberating for a lot of people but, hey, so can Charles Dickens so I'm not going to judge.
I'm an untrained musician. Untrained musicians don't really have any music theory, they don't have a lot of rules. We break the rules, but it's mostly because we don't know what the rules are. It's easy for us to go to certain places, so I'm not surprised that a lot of people were amused by my songwriting style.
They're a different generation, those kids; kids that are under the age of twelve. They're not that impressed by rock music, you know what I mean? They're like, it's cool and everything, but whatever. They're just as impressed by YouTube.
I certainly have gotten caught up in the music business at various times in my life, mostly because you want to get along with whatever record company you're dealing with. I don't want to be flaky. I don't want to be some temperamental, hard-to-work-with musician.
I have had UFO experiences, and yet, at the same time, I can easily be convinced that none of it is true. It's hard to say whether or not you're a believer. I've been interested in that subject matter, like lots of people. Perhaps foolishly, I've allowed some of that stuff to creep into my music.
I don't want to do children's music. I write kids songs, but the kids songs I write are for my kids - like when I'm putting them to bed. We sing some song that we made up but I don't want to make a record like that.
As soon as I got into music, I tried to be a working, real artist who gets paid for what he does, who doesn't have a day job.
Film is one of the three universal languages, the other two: mathematics and music.
I am less instinctive as I try to be more professional - about the music, about the sound.
I don't listen to music when designing. We create in silence. I go through a torturous process because everything has to be precise and right.
I love animals. Even if you go back to my music video days, I can't tell you how many animals I used.
We were raised in an Italian-American household, although we didn't speak Italian in the house. We were very proud of being Italian, and had Italian music, ate Italian food.
Growing up, I was vaguely aware of things that went on in church, because I was in the boys' choir at the local Episcopal church. But I got the clear message that I was supposed to learn music there, and not pay too much attention to the rest of it, and I followed those instructions very carefully.
Faith is reason plus revelation, and the revelation part requires one to think with the spirit as well as with the mind. You have to hear the music, not just read the notes on the page.
It really shaped me as a person going to DeMatha. Anyone that plays athletics or does music or does whatever, it teaches them to work to the best of their abilities.
With regards to music, I don't want to pigeonhole myself and say I am a musician or a visual artist, because I feel like it's all-encompassing, and I feel like every bit of my art is related to the other.
I adored my grandparents and spent every weekend with Mama and Papa Wicks. They had seven children, so they needed a big house - and it seemed only logical to them to build into their house a pipe organ in a music room with a sixteen-foot ceiling.
Music seems hard-wired into our very being. It moves us, stirs us to action, sets us in motion, sticks in our memories and minds.
Most people imagine music playing in their heads, but some hallucinate music; some cannot sleep because of the soundtrack in their mind.
Though my poems are about evenly split between traditionally formal work that uses rhyme and meter and classical structure, and work that is freer, I feel that the music of language remains at the core of it all. Sound, rhythm, repetition, compression - these elements of my poetry are also elements of my prose.
When I see things that are inspiring, I must write a song about it. Some people make a t-shirt or slap something on a wall with paint, but I must make music and freestyle rap.
I feel like the first record was really finding my feet, figuring out what music I wanted to make... Now that I've done that, I feel like I've got a much clearer idea of what I want to sound like and what I want to discover. It's exciting.
For me, one of the downfalls of electronic music is that it can feel a little soulless or robotic.
The thing I find frustrating about rock music is, how different can you make an acoustic drum kit sound, an electric guitar and vocals?
I'd like to actually work with a lot of other people, and whether it's someone who is completely unknown who I love and think is a talent, maybe I'll work with them, or, like, maybe I'll work with some of the biggest pop stars and write music for them.
I get bored of music really easily, so I always try and make music that makes sense, but then it's just a little bit wrong.
I think the thing that L.A. had on Sydney is an awesome music scene, especially for what I do.
Probably the No. 1 most important thing in my music is not to sound like anyone else. It is hard in this day and age.
To me, skin is alien and kind of weird; it weirds me out. It's strange, but it's also really intimate and personal; it's living, organic. That's how I want the music to sound; I want it to feel alien and strange, but also like it's got a heartbeat, like it's got a soul, like it's not made by a robot.
There was this cereal, and it had a special promotion with a CD inside the box that had a really simple music-making program on it. I got it, and that opened my mind to being able to make music on a computer and seeing all the different layers.
To me it's all about textures, and that's the side of music that I'm finding really exciting. I feel like it's one of the only parts of music that mankind hasn't fully discovered yet.
I love heavy music. I keep Flume nice and melodic, so I save the angry, testosterone-fueled heavy stuff for What So Not. I think it's a good defining thing for the two projects.
Every kid has a laptop; everyone can make music, so in order to stand out, I think it's important to find that sonic identity, I think my sonic identity - and mine is finding these weird sounds that may not necessarily sound that musical, and make them sound musical.
I've never been a rap guy, I don't really know that much about rap music, to be honest. I like it, but I think what really happened was just my music seems to work so well with rap music.
For me, I actually come from an electronic dance music background: house music, electro house, trance music, even. When I was coming out of school, basically, I discovered Brain Fever, Flying Lotus, J Dilla and all that. That was when I got excited about hip-hop and when the Flume project started.
The thing I find frustrating about rock music is, how different can you make an acoustic drum kit sound, an electric guitar and vocals? It's very stuck, whereas with electronic music, new sounds are being created.
Great songwriting will never die - it's in the DNA of music - but what's new and exciting is pairing that with new sounds that technology is enabling us to make.
I'm just trying to work out how to write music now, because I've never had the opportunity where my number-one priority is writing music. I don't know how my brain works yet.
I was nine, and I was shopping in a supermarket with my dad. There was this cereal, and it had a special promotion with a CD inside the box that had a really simple music-making program on it. I got it, and that opened my mind to being able to make music on a computer and seeing all the different layers.
Music is a job, but I figured out ways to get my mind into a place where I could be creative. I actually discovered meditation. It enabled me to clear my mind of all the drama and focus on the music.
There's a lot of creativity in the industry, but I don't necessarily think that the most creative DJs or producers are always the biggest ones. I think it would be nice to see more of an open culture to different music. I think that's happening. With Spotify, I think people are discovering a lot of artists they might not discover otherwise.
Everyone can write their melodies and chords and pianos and guitars, but what hasn't been discovered yet are tones and textures, and that's very exciting. Probably the No. 1 most important thing in my music is not to sound like anyone else.
I don't mind playing my music live. It's fun. But what my real passion is is writing music.
I want to be creative in as many different environments as possible, whether it's doing film scores, writing for TV ads or video games - all sorts of stuff, as long as it requires writing music.
I find that if I interact more, the crowd gets way more into the music. We also have a full live show happening, and I have lighting crew that travels around with me. We've got this Infinity Prism thing, which is lots of fun. It's an optical illusion device that we carry around.
I think I put a lot of special attention towards creating interesting textures and unique sounds. Music essentially boils down to two main elements: rhythm and melody. I feel tones and textures often get overlooked, so I like to take my time finding the right sounds.
I think, in the early years, my biggest influences would have been... Daft Punk was a huge one for me, I bought their main record when I was nine; at a young age, I was into music. The Prodigy, Gorillaz were big ones.
I love working with people and having them bring something to the table that I couldn't. I think one of my favourite artists to work with has been Kucka. She's Australian, too, and it's great working with her because we kind of have a very similar take on music, and we like a lot of the same stuff. We're not super-precious about ideas.
A lot of electronic music out there feels cold. I want to incorporate a human element.
I like pop music, and I like really weird, strange stuff. It just didn't feel like there was anyone doing both.
I'm so thankful that I had music to turn to in the dark times and be able to understand myself through it.
I'm not the kind of person who's always out at the club if I don't have to be. I like chilling. I think that comes across in my music.
Thundercat, specifically, is insane. I'm always surprised at the things he comes up with when we're jamming out together. I gotta try to keep up with him and his ideas, be able to respond without speaking, and come through with some more music. He challenges me to keep it musical and not so computer.
I definitely learned to communicate with other musicians better. I used to feel so intimidated by guys who can read notes, like, 'Oh my God, they're gonna think I'm not even gonna be able to sit at the table.' But I've come to see that a lot of these musicians don't know how to read music either, and that made me feel good.
I actually really liked the music to the 'Friday the 13th' Nintendo game. I still listen to it all the time. I sampled it in a couple records, too. It's hypnotic and dark but also really pretty.
Reading music has opened up me up so much. I've been experimenting for so long and trying to make sense of things just from my ears. It takes forever. Now I can get where I want much quicker.
I do think your environment really plays into how you create. I lived in San Francisco for a bit, and I felt like I lived in the Matrix - so my music had that paranoid-of-the-outside sound to it.
People are not able to just make music anymore; we have to do things that don't necessarily make the art any better. But that's just how it is.
The producer role attracts introverts. Making music on your computer is so appealing to someone who just sits in their room all day.
I found so many reasons to call it 'You're Dead!' - not just because I wanted to make this album about the journey through death. I was watching the music scene that I came up with kind of go stale and watching the lights go out on a lot of my friends.
I was first inspired to make music by my cousin Oran. He was making music on an old Mac II by himself in his little lab, and I just started taking up after him. He was the first person to put a machine in front of me to work on. He was like my big brother, someone who I looked up to.
I wish I could write music notation. Even if I couldn't play it, I wish I could just write it.
I first was introduced to really, I guess, underground electronic music when I was in middle school.
It's the old-school jazz mentality that I connect with the most. I dig the idea of the seeker, the guy who's always trying to figure out why he is doing music and trying to understand and make sense of his instrument in a world which deals with rigid instruction.
I love Snoop - I grew up with his music - but I never thought for a second that we'd work together.
I feel like my music has a reputation for being pretty serious or whatnot, but I like having fun.
I'm always seeing stuff and imagining scenes in my head when I'm making music.
The first beat that I ever made that I thought was actually worth a damn was called 'Toilet Paper Nostrils,' and I made it when I had a cold. I had the worst cold ever. And I had toilet-paper nostrils making music, but it was really reflective of how I felt. It was a really sad trumpet sound.
For me, being 10 years old and seeing 'Jurassic Park' for the first time blew my mind. I want music to feel like that.
When I can make music and don't have to think about anyone else's ideas or voice - when I'm making something that only I can make - it feels good. It's nice when you can find a sound that only you can make. No one else can make 'Cosmogramma.' No one else can make 'Until the Quiet Comes.'
I don't remember ever not singing. My mother loved music, and she taught me songs, country music, spirituals. I would sing for people and pass the hat when I was 4.
I'd experimented with so many different types of music. I had these folky songs I'd written and recorded, but something wasn't quite right.
Music is my way out. I keep things locked up and never say anything. I guess in order to say something to one person, I have to sing it to a couple of thousand. It doesn't make for healthy relationships.
When something really hits me, it makes me want to either jump off something really high or lie down and be buried. I want people to get hit and caught by my music.
I think I just get excited by music, and, like, singing is a very physical thing. It releases endorphins in your body. You're using almost muscle in there, and I think that adrenaline really helps to kind of make the songs fresh every time.
I always seem to feel that everything is about to cave in on me. I think that maybe music is my protection from that and in some senses it's an outlet to turn it into something euphoric: embracing the eventual decline.
Maybe in music you're making an auditory environment and maybe you change your environment around you to suit your own way.
I'm completely in love with the world but also terrified of it. It creates some overwhelming feelings. Wanting to battle out that joy and fear is part of my music.
I'd gone from being this art student messing about with music to this girl with a record deal, magazine front covers and all this hype. In many ways, it was everything I ever wanted, but when it happened all I felt was total, paralysing fear.
I'm really careful with what the music gets put with, and we say no to so much stuff, loads of it, for things that might quadruple the sales of my album. But if it doesn't fit then it doesn't fit, you know?
I made music with my friend, who we called Isabella Machine to which I was Florence Robot. When I was about an hour away from my first gig, I still didn't have a name, so I thought 'Okay, I'll be Florence Robot/Isa Machine', before realising that name was so long it'd drive me mad.
Growing up, I always wanted to be in punk bands, so I'm really enjoying the harder, heavier element. It's always been my dream to have people moshing at my gig, kind of that really feral element of the music coming out more. I love crowd-surfing.
When I first started, especially because I got the Critics' Choice before I'd released an album, there was a lot of scrutiny on what my character was, what my background was, what colour my hair was. I fought quite hard for the music to overtake the personality aspect.
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