I approach music and acting the same way, through spontaneous improvisation. I never really try to rehearse anything, do it over and over, except when we're inside a take.
When I was 17, I listened to reggae music. I loved Bob Marley. I started growing dreadlocks. It's always been my way, that the outside matches what's going on with me inside.
It was a really strange way that I came into music. Once I gave voice to it, the pit of emotions that I guess I knew was inside of me for a long time, the stream never really stopped.
The first year I started in San Francisco, there was an American work on every program and there's been a lot of music by living composers and gradually that was part of the process of getting the audience really to trust me.
I'm sure if we had made an album that was more traditional would have been released immediately. When we actually play this music on stage and people become familiar with it, it will become more popular.
The main thing that those two albums have in common aside from my music, which of course, a sense of it, you can recognize, it is that the bass on Infinite Search was playing much, much less like a bass.
Music is more emotional than prose, more revolutionary than poetry. I'm not saying I've got the answers, just a of questions that I don't hear other artists asking.
I'm very honest in my music and I'm often asked to explain the lyrics; as an introvert, I find that quite hard. And I always wear high heels on stage, which can be painful.
Absolute 80's is three hours of mainstream 80's music. I also do New Wave Nation that is more cutting edge. It is more punk stuff from the 70's to the 90's.
The most fun moments are being on the stage and seeing how the crowd reacts to your music. The energy of the crowd that makes you just want to go in and keep doing it and be a part of this forever.
The songs that I like are the ones that you can't visualize, that are just cries from the heart - those very straight, direct songs that make rock & roll music so wonderful.
I have a very strange relationship in general with women around my music. There's some that understand it and some that think there should be a law against it.
I see it as my duty in some way is to be out in the world as an Australian putting forward what I consider to be authentic Australian music.
Twenty years from now, will we listen to Lady Gaga? No. She might think she is making a stand for the freaks and the weirdos. But they're not going to have any decent music to play, are they?
When you're editing the film, you use a temp track. So you're putting music in there for a rough cut to keep track of what's going on. It can be a hindrance if wrong, it can be an enormous asset if you get it right.
I genuinely don't feel that anything that's been written or said about me has overshadowed my music, and that's the most important thing as far as I'm concerned.
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.
You listen to a piece of music and it will remind you of something - it might make you happy, it might make you sad, but it is very emotive. And I think that Duran Duran have always understood that.
It's never been seen that a street artist go as far as I've gone - keep consistent without wanting to do a bunch of ventures outside of music to keep my face out there.
I believe that there are still people who believe that game music is something equal to just an effect incorporated into the game, something like a BGM. And therefore this is something that I would like to show that is not true.
I used to be with a publishing house called Roosevelt Music. A gentleman there told me he had seen Peggy Lee perform Fever in Las Vegas and I found out later she wanted to record it.
