I think it's important to really press on with the song writing and just go with it. There's no code, there's no craft... it's just let yourself shine through your music. If it's meant to be loved and heard, it'll happen.
It wasn't until I found my tribe of artists - people who were outspoken and not afraid to say what they thought, whether in a song or a dance or a piece of classical music - that I found a refuge.
I think I definitely learned how to structure songs, just from listening to a lot of 1960s, 1970s pop music, although I'm sure my mother's watchful eye had a lot to do with it.
I'm into song-writing; I'm into melodies that break your heart a little bit. That's the thing that got me into music; that's what I look for in music for the most part.
There was this discussion to know how long the human ear was really receptive to the music. A 74 minute CD is too long. We thought about making two CDs, 35 minutes each... But the songs need to breathe.
We play melodic music, we play songs, we play all kinds of things and when you improvise you don't just shut out different languages, you use all the languages that you have.
I'm glad that our music motivates people to exercise. If I had to pick just one song to run to, it would be 'Violet' by Hole. It makes me want to run.
While I'm playing baseball, I'm still writing songs and having tapes sent to me. I'm sure I'll spend a lot of time in the whirlpool resting these tired bones, so I'll be thinking of music then.
Selfishly, I make music for me. I like to make music. I like looking for songs. I like working with interesting musicians. I like producing records. It's something I will always do.
I have a music video I was in coming out for M83 for their song 'Claudia Lewis.' It's directed by Bryce Dallas Howard, and I play opposite Lily Collins. It's a pretty edgy intergalactic music video.
I work so I don't need to make rent through my songs, and I think if more people engaged with music without needing it to provide for their welfare, you're not beholden to anyone.
My mum especially listens to music in a way that is incredibly feelings-based. There's virtually no snobbery about what sounds are in it, she just wants to hear a song and that is quite refreshing.
The thing with Disney songs is they're very manipulative, very sentimental, but they do get you, you know - there's a kind of sadness to them and that kind of music doesn't really exist any more.
I would enjoy venturing into music, as I do write songs and compose music! And, of course, dance, rhythm and performance are in my blood, so eventually I see myself doing something in that area, surely!
Music rhythms are mathematical patterns. When you hear a song and your body starts moving with it, your body is doing math. The kids in their parents' garage practicing to be a band may not realize it, but they're also practicing math.
Janis Joplin is definitely one of my biggest influences. She taught me how to feel music, and I don't think there's anyone like her that could bring such pain and emotion to a song.
I thought the '60s was the most exciting time and the most vital music, and we were really together as one mind then. Then afterwards, the songs and the bad drugs, that took its toll.
I make the music my ears want to hear, I wear the clothes my body wants to wear and the ones boys call me back for, and I generally make the songs that my feet dance to.
The Zombies were really unique - they had elements of jazz and classical music in their songs and songwriting. They had a very, very different sound compared to a lot of their contemporaries at the time.
Every girl likes to just rock out when they put music on in their room - I learned that personally when fans would tell us how much they loved to make up their own dances to Cheetah Girls songs.
You've got to go down the road you naturally go down, and for me it was pop, folk country, just feel-good music. I suppose most of my songs are very up-tempo.
