Quotes About Music

With my previous record deal, it'd be like, 'OK, so I have this track then, EMI - do you know any singers, maybe? Do you have any singers on your little label there?' And funnily enough, they didn't. But I prefer finding unknown singers myself anyway.

If you fall in love with a woman, there's this unknown thing that gives you a force and energy, and music is like that, too. If I lived to be 2000, I'd never know anything about music. And that's great.

I got a chance to work with Miles Davis, and that changed everything for me, 'cause Miles really encouraged all his musicians to reach beyond what they know, go into unknown territory and explore. It's made a difference to me and the decisions that I've made over the years about how to approach a project in this music.

Eventually, the more I listened and became obsessed with singers, I feel like the more I realized that I had my own little thing that I could do. So this is why I just became obsessed with looking for new singers, unknown singers, people that maybe have been forgotten, and really checking them out and analyzing what they do.

I was in several bands before I joined Judas Priest. Being in those early unknown bands were the stepping stones, really, so I learned a lot in those short few years jumping from one band to another.

I signed with Kanye back in 2003, and at that time, 'The College Dropout' hadn't even come out, so he was still relatively unknown compared to where he is now. He wasn't a household name; people were still calling him 'Kane.'

One very important aspect of our contemporary musical culture - some might say the supremely important aspect - is its extension in the historical and geographical senses to a degree unknown in the past.

It's like they had a backlash the first 11 years. I think the reason why it always seems like there's a backlash is because when bands are unknown, they only get written about by fans.

I wanted to move away from Holland for my work because I felt that things would be better for me in England. But when I heard Joy Division's 'Unknown Pleasures', that pushed me towards making the move and making it real. I met them within 12 days of moving to England.

Webern was a kind of 'Kamchatka of music,' an unknown country of music. That's true; for me and people of my generation, he was a radical - you couldn't be more radical than he was.

'Unknown Pleasures' is a very important record for me. It was the first LP that I recorded.

I think everything's experimental whether you like it or not. I think that people who do generic pop are experimenting with cliches. It's no less than I am experimenting with noise or unknown music - until you say, 'This is my song, or this is my composition' - it's all experimental, whether you like it or not.

Joy Division finished the 1970s on a high. Our debut album, 'Unknown Pleasures,' was doing well; we'd just finished a hugely enjoyable and successful tour. The band's profile was higher than it had ever been, and it seemed to be growing by the day.

I would say that the majority of the people I work with are Swedish, very unknown producers and writers but so talented.

Sometimes people have this notion that improvisation is simply intuitive leaping into the unknown.

What's become a big theme in my music is my dad as a narrative character. I never had the opportunity to understand our relationship in a more adult capacity. The unknown is great material for any creative outlet.

With the radio and Internet, Indian music is not unknown to anyone. There are so many wonderful styles and genres that are being introduced to the world.

'For Unlawful Carnal Knowledge' took a year to record; that's why the playing on it might sound somewhat labored. 'Balance,' on the other hand, was written and recorded in only four months, so the whole process was quicker and more immediate.

When I was nine years old, I started playing guitar, and I took classical guitar lessons and studied music theory. And played jazz for a while. And then when I was around fourteen years old, I discovered punk rock. And so I then tried to unlearn everything I had learned in classical music and jazz so I could play in punk rock bands.

I am a trained singer, but I had to unlearn how to sing with a coach, because Diana wasn't trained.

Through music I either tame my demons or unleash them and allow them to be what they are. I don't want the music to be about provocation, I want the music to bring you to a place where you feel at home.

A rock star, according to my definition, is someone who inspires people around him with something he is best at. In my case, it's music, but I wanted audiences to realise there is a rock star waiting to be unleashed within them as well.

I've always wanted to do a solo record, and in 1999, I went over to Japan and did a project called NiNa, where I co-wrote with Yuki from Judy and Mary. It just sort of unleashed this realization in me that I could write.

There was something about the chemistry of the band and we would feed off each other. It was a gang of girls unleashed.