When the news wants to tell you something is important, they put dramatic theme music behind it. They scare you into watching the story.
I certainly understand that we're all trying to make a living, but I'm not thinking about that when I'm making it. And if that's your sole motivation, it's going to reflect that narcissistic greed, and you're going to hear it in the music.
Now, one can often get away with playing music by ear when it is not being recorded, but writing is another matter; its mistakes are not forgotten because they are still there to confuse us.
What I like is when you can hear the heart and soul of music and can feel the energy coming out of it, because that's what it's like when you drive.
My first ever tour of my music was in the Netherlands. I didn't really have a grace period to grow or anything; people just started booking for me. I feel pretty lucky.
When the script was written, it was sent to me with asterisks marking where he felt a song would be appropriate. Before the film was shot, the score was written. I made a demo of it, so they lived with the music as they were making the film.
You get the feeling that on a lot of days the audience for most music would kind of rather not be faced with the artist, especially because we've been educated to think that the artist are these special creatures are otherwordly and aren't like us.
I got the writing bug in the fourth grade when a poem of mine was published in the school newspaper. Music criticism came a little later, when I was in high school.
I would rather fall flat on my face than try to just make a quick dollar by making music that fits into the radio format right now. It does nothing for me.
I am not facing the problem of emigration. I want my music to be acknowledged here first of all, in this country: after that, we shall see - perhaps the question will than become urgent.
To some degree, yeah, because I have to play a certain number of originals that might be considered avant-garde material. I realize though, that only a few people in the audience actually know what that music is, or understand it.
One of my biggest personal holdings is Rotana. That company has a very dominant force in the Middle East. It has around 45% of all the movie industry and around 75% of all the music.
'Hatful of Hollow' and 'The Smiths' were lent to me, and they made me want to create music that might make another person feel like they made me feel - to have an effect on someone.
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.
I compose my own stuff. I've been writing songs with words. I've been playing more on the keyboard because I can transpose it to sheet music on the computer.
I am severely distracted these days. It's hard to sit in front of the computer, uploading bad music for hours, when you have a wonderful boyfriend who treats you like a Goddess.
When I was younger I didn't really know what genre of music I'd want to do because I'd always done so many different types, so many impressions.
I let the song come to me. Then that thing comes to you, and you just know what that thing is. Music isn't like a 9-to-5 job. You never know. It's just the most unpredictable thing.
I feel like I've spent the majority of my time touring and traveling, so if I reduced the actual time making music, it's probably four and a half years at the most.
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.
I did a lot of work without thinking about it in a calm, rational way. Stopping and thinking about what I was doing made my music calmer and deeper in tone.
