When I'm in the mode of feeling positive about love, I don't really feel the need to mark it down in song. In fact, I know what that song would sound like, and I would not subject anybody to that.
Coming from my bedroom in San Antonio to this big world and going from singing covers off my laptop to making music in this nice studio, making professional-sounding music - it's just weird.
That's why so much of the music today sounds so much alike, because there's no in-between. So it's kind of nice to still turn some buttons every now and then.
The repercussions of what you put out and what people gravitate to in your music never registered at all. I never had that thing that maybe other bands have - a specific idea of what they are and what their sound is.
Look, when I started out, mainstream culture was Sinatra, Perry Como, Andy Williams, Sound of Music. There was no fitting into it then and of course, there's no fitting into it now.
There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
I admire Tom Ades: he's a brilliant conductor, and he gets just the right hard, brilliant sound from the City of Birmingham Symphony Orchestra for Russian music.
I couldn't imagine a day without music. It relaxes and stimulates me in equal measure and I hate the sound of silence - the concept, I mean, not the track by Simon and Garfunkel.
For my part, if I consider poetry as an object, I maintain that it is born of the necessity of adding a vocal sound (speech) to the hammering of the first tribal music.
Doesn't anyone here think this sounds like a vision of hell? While we are all competing or dying, when will there be time for sex or music or books? Stop the world, I want to get off.
I was lucky enough to be the lady that was asked to be Maria in the Sound Of Music, and that film was fortunate enough to be huge hit. The same with Mary Poppins. I got terribly lucky in that respect.
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.
No matter what I do, my songs come out in a certain style, and if that sounds like Dead Kennedys, then there's probably a reason for it. Don't forget, I wrote most of those songs, music and lyrics.
I don't believe in sampling some Tibetan music just to make it sound groovy, but you do your homework, you understand what you're doing with it.
Music always turns into music. As soon as I play a key, push a key down, there's no theory any more. When I go and I hear a sound on the keyboard, all theories go out the window.
Electronic music used pure sounds, completely calibrated. You had to think digitally, as it were, in a way that allowed you to extend serial ideas into other parameters through technology.
I kind of always wanted my own music to just sound like, like me, I suppose, like if I was music it would be the music I make, I think.
The power of sound to put an audience in a certain psychological state is vastly undervalued. And the more you know about music and harmony, the more you can do with that.
I don't listen to music when I write. I need silence so I can hear the sound of the words.
My first break wasn't professional - I was in 'The Sound of Music' when I was five. I played Gretel, the youngest one, because that was what kind of took off for me in terms of loving acting.
My earliest memories of rap music was mixed with my earliest memories of reggae music. They were big sounds around the way, heavy bass lines, strong messages, definitely.
