Doing something like that, quite radically changing your approach to sound in one go, could leave you high and dry. It's happened before where people have changed direction and then everyone's stopped liking their music.
I personally do not listen to a lot of music. It helps keep my mind free. I don't want to sound like someone else from the get-go. I want to express myself and the world in my head.
I was greatly influenced by musique concrete when I was, like, 10. I was completely mesmerized by the idea that you could make music out of sounds. So that's been a constant influence on all my work.
What I don't like to hear in music is something has not been thought through: that a sound is just there randomly. I want to make sure that every single little noise that's in my song is there because it's supposed to be there.
I like men. I like the sound of their voices, the way they think. They're more sensitive than women. With a woman, everything is either this or that, black or white. But a man can see shades of gray. That's what I call being sensitive.
When the baby dies, On every side Rose stranger's voices, hard and harsh and loud. The baby was not wrapped in any shroud. The mother made no sound. Her head was bowed That men's eyes might not see Her misery.
Not to be weird, but I still have an ongoing relationship with my mom, even though she passed away, and I've been surprised at how much I've been able to convey to her. Now I sound like a total weirdo, but that's true.
I think the 'Lethal Weapon' movies contain my favorite performances. It sounds really crummy, I know, but although the work doesn't look hard, it's difficult to create 'effortless' on screen.
I really want to meet and work with JJ Abrams. Everyone talks about what a nice director he is, and he has kids and stuff, so he sounds really awesome, not to mention he makes awesome movies.
Richard Hannay: Beautiful, mysterious woman pursued by gunmen. Sounds like a spy story. Annabella Smith: That's exactly what it is.
Tony Stark: [Covering his eye, looks around] How does Fury even see these? Maria Hill: He turns. Tony Stark: Sounds exhausting.
Buddy Bizarre: [after the rehersal] Everybody got that? [the actors answer with a heavily lisping "yethhhh"] Buddy Bizarre: Sounds like steam escaping.
As you can appreciate over my lifetime I've developed a large vocabulary of sounds each requiring certain physical techniques often combined with a specific effect box.
I knew that as a DJ from 1970 on up that I would eventually come with this sound. I brought out all these other break beats that you hear so much on a lot of these records.
The problem is, when you're working with orchestras, you only get the orchestra for about two hours before the performance to pull it all together, and that doesn't sound like a real collaboration.
Just the way my voice sounds now, it's always had this little hoarse thing to it. And I'd have to do vocal exercises to make my voice clear.
When I record, it feels like I'm in a bubble. There's nothing else in my head right then. It's just that song, and I'm trying to really sound like what the song is about.
I would kiss you in the middle of the ocean during a lightning storm cuz I'd rather be left for dead than wondering what thunder sounds like.
What hypocrites we seem to be whenever we talk of ourselves! Our words sound so humble, while our hearts are so proud.
Strange, how the name Israel, God's own chosen nation, who don't believe Jesus to be the Messiah, sounds almost the same as saying "is He real?
The authentic Gullah dialect is actually very clipped, and so it would sound almost Jamaican and be very odd to an American audience's ears. It's not the typical Southern dialect that we're used to.
