Quotes About Artistry

I really wanted people just to get to know Solange on my first album, just to establish Solange's sound, just to establish Solange's personality.

With every album, the approach is find the best songs you can find, write the best songs you can write and try to sound better.

Once you have an established song, you can really come out of your shell and experiment with the sound you want to make.

Guys like Future and me, we help create and shape the sound of music - not just Atlanta music, but music all over. If you really pay attention to the music being made, a lot of that is very heavily influenced by the stuff that we created. I listen to so many songs that's like, 'Damn, this sounds like my music!'

Soundgarden are kind of the masters of writing songs that aren't pop cliches.

There are a handful of Soundgarden songs that work acoustically, but only a couple. It's not who we were.

I'm sick to death of people saying we've made 11 albums that sounds exactly the same, Infact, we've made 12 albums that sound exactly the same.

I just think, certainly for live music it should look as good as it sounds.

Obviously, a bass sounds like a bass and a guitar sounds like a guitar, but the way you play the guitar reflects your personality.

As soon as it sounds fine, I'm on to the next thing, man.

The best part of making music, for me, is collaborating and working with new people and fresh sounds and all those things that gets people excited to continue in this business that we all love so much.

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.

It sounds a cliche but when I'm on stage I'm at my most relaxed, I feel most like myself. When I have the music and the costumes and everyone else around me, that's when I feel most free.

I know there's bands that might write something that sounds like The Smiths, and they'll go, 'Oh, it sounds like The Smiths, we've got to make it sound not like The Smiths.'

I don't ever want to come out with something safe and get away with, 'It sounds good!' It's got to be more than sounding good. The music I like are events.

Some people remaster their records six, seven times, remix it three, four times, spend a million hours, then they always go back and hear a demo of it and they'll say, 'Aw that sounds so much better than the final mix.'

One always has to remember these days where the garbage pail is, because it's so easy to make sounds, and to put sounds together into something that appears to be music, but it's just as hard as it always was to make good music.

Obviously, you want to honour the sound of your music, but I'm definitely open to trying new things and making myself use a different palette of sounds.

It's very fun to be the hunter of the sounds. The hunter of the right energy. And it's not really about if every sound is correct; it's more the energy - if it hits you in some way, it doesn't really matter to me if it's not perfect. I'm still very excited while hunting for songs.

I listen to Helmet - and I love Helmet, they're a great band - but every song sounds the same.

If I play anything that sounds like a solo, it's gonna sound like a lyric.

I do think sometimes there's danger in guest appearance mania. I've seen too many examples that sound cool on paper, like 'Oh, get that guy to sing the hook on that guy's song,' and then that's all it is. It's a cool idea that sounds good on paper.

A lot of people at the highest level, I never listened to. It was hard for me to listen to a whole lot of stuff. It didn't get there for me. Al Green, who's maybe my favorite male singer - to me, Al Green sounds like a saxophone player.

Experimenting with different sounds is great, but when it comes down to it, you're still playing a guitar.