Quotes from Weyes Blood

I've always been very progressive and as much as I play Old World music, I have this progressive tenacity to keep adding futuristic elements in subtle ways where you won't notice.

The bedroom is an archetype. To me it stands for a lot of the silliness of our modern culture where the kind of things that we worship in our sacred spaces are based on media and movies because we don't really have much else in the way of myths, if that makes sense.

Being in a first-world country, it's like we have a first-row seat to witnessing humanity, but we're not really witnessing anything. Despite all the new technological tools we've been given, we're still powerless, watching everything happen like it's a theatrical performance.

Lamantia is faith building, encouraging poetry in that it abstractly hugs you by finally capturing the inexpressible. It's an experience similar to relief, reading his poems.

I aspire to write like Robert Wyatt. I take a lot of inspiration from the way he writes.

I love touring; if it were up to me I'd be touring all the time.

I've always had gender confusion. I had two older brothers, and I've been predominantly male influenced. I really always looked up to my dad, really always looked up to my brothers... I had a lot of male friends growing up. It didn't help that in my town, where I lived, there were no female musicians.

This record was kind of, like, innocent. It's called 'The Innocents.' So it's the concept of being young enough to not really understand the implications of your decisions and then kind of feeling the weight later and being, like, but I was innocent. Like, did I deserve this?

I had this instrument that I built in high school. It was a huge, six-foot-long stringed instrument, and I started playing with that amplified and singing through power electronic stuff. I played those shows, and it would blow the lid off of everybody, and everybody would flip out.

I can't read Jodorowsky's Twitter every day, firstly because I can't go on Twitter every day, but secondly because homie is an intense excavator of the human soul.

I feel like humor and tragedy are all on the same coin, and it's all a part of the same process as humans as we assimilate reality.

I tend to panic and fear on a low-grade level every day, but when something really disastrous happens, I kick into super high gear; a kind of transcendent, save-everybody mind-set.

Good singing is learning how to transmit learning musical information with your voice in a way that everybody can relate to. But as a woman you just get a lot of criticism because everyone sees you like a raw lump of clay that needs some help.

My parents are musicians. I was listening to the radio and recording songs off the radio on cassette tapes and playing guitars and pianos. Just emotionally responding to music from a very young age.

A lot of my family members were performers, and my cousins are comedians and actresses. From a very young age, movies were really important. They were given a lot of value.

When I was about 15 I had already been recording on my four track in my room, but I couldn't find anyone in my town to be in a band with me. I was in a band very briefly with a bunch of guys and they kicked me out because they wanted to play grindcore. I think they didn't think I could tread hard enough or something. So I started playing solo.

I love essential oils - there's one for every problem. It's kind of like nature's answers for what to put on your skin. I had acne when I was a teenager, and I did a pretty intense tea tree thing. You dilute it in a base oil, like carrot seed oil, which is good because it gives your face a little glow.

I've always tried to create music the way Kubrick makes film, just kind of mimicking consciousness. He has a way of mimicking this greater power.

I can't stay within the constructs of societal expectations.

I really like Adam Curtis' 'Century of Self.' It's about how artists have failed the general public by being so exclusive, like being in an echo chamber. I was definitely more like that in my early twenties - my music was completely inaccessible.

When I was a little kid, I was a huge fan of 'The Kids in the Hall.' They were like my boy band. I was obsessed with sketch comedy. Being raised Christian, I was somewhat sheltered from the more radical high-art world. So to me, comedy was where people got to express themselves in an abstract way. It was a big part of my growing up.

It's important to me to not stay too confined to any specific sonic space. There is something really magical about straight folk music - it's not that I don't like it, it's just that I like so much music, I hear so many different things, and I want to try more. I don't want to be confined.

The concept of 'Bad Magic' is something that is incredibly intoxicating and magical but ultimately bad for you.

Anne Briggs is great, and I love Sandy Denny and Steeleye Span.