What I value most in new music today is strangeness, oddity. Passion. And humor. I listen to a lot of hip-hop because it combines so many things like that.
The difference is that they [Europeans] don't have that culture about hip-hop as a lifestyle, a way of life; for them it's more of the new trend, the new music that you have to like.
I don't think anyone listening to my music needs any special knowledge. They don't need to have a background in contemporary music. They don't need to go to new-music concerts all the time in order to be able to understand it.
I think it will be fun to not only play new music, but to get to play different instruments on-stage.
I love looking back, and even putting new music on vinyl - if it's right!
I don't want to know what people are doing. Like, I don't need to know who's got a new music video and who's got a new lipstick.
Most of this innovative new music doesn't make money so it's regarded as uninteresting for the business people and considered as "underground".
My policy has always been to play new music. New beat, industrial, techno, disco, funk, rare groove and house music.
I won't necessarily make new music because when you make a record there are these great expectations on the side of the record company who are going to produce your record, promoters that are going to do your shows. They want you to do interviews, they want you to play shows. I mean, they want it to be a campaign.
A new music is a new mind.
Pleasures First look from morning's window The rediscovered book Fascinated faces Snow, the change of the seasons The newspaper The dog Dialectics Showering, swimming Old music Comfortable shoes Comprehension New music Writing, planting Traveling Singing Being friendly
I think there will always be great new music and bands. As long as there's people around, there's going to be great music. I think there's bands like Wolf Eyes, Q & Not U, the Evens and many others that are doing great stuff. The music that doesn't please you, you just don't listen. No one makes me listen to Nickelback, so long may they wave.
From my stone pillow I have dreamed dreams of the mortal world above. I have heard its voices, its new music, as lullabies as I lie in my grave. I have envisioned its fantastical discoveries. I have known its courage in the timeless sanctum of my thoughts. And though it shuts me out with its dazzling forms, I long for one with the strength to roam it fearlessly, to ride the Devil's Road through its heart.
When I hear music that parents hate, or older musicians hate, I know that's the new music. When I hear older people saying, 'I hate Rap or Techno' I rush to it.
You know I want to sing for people, I want to jazz people up I want to make new music that they've never heard.
Aaron Copland was a man that had a very specific point of view about what music should be which was that, he felt that new music should have the composer should show a personality in his music.
Perhaps many of the perplexing problems of the new music could be put into a new light if we were to reintroduce the ancient idea of music being a reflection of nature.
There are half a billion people that listen to music online and the vast majority are doing so illegally. But if we bring those people over to the legal side and Spotify, what is going to happen is we are going to double the music industry and that will lead to more artists creating great new music.
Old music is the same as new music - it's just a different way of delivering it.
I was listening to Jimi Hendrix and Pink Floyd, because that was new music for me. I really hadn't been up on them. I mean, I'd heard of them, but I wasn't up on their music. And I kept listening to Radiohead, and I was like, Man, I want to make hip-hop that feels like Radiohead. I want to make hip-hop that can use guitars and soul and jazz and just fuse it all together.
I think in the old music, everything was so competitive. It was all about - very selfish in a lot of ways. The label sort of capitalized on that desperation and that competition. In the new music landscape, with is the democratization of the internet and music in general, I think it can be a lot more collaborative. People, instead of competing, they can actually support each other, in music.
It was part of a financial situation. I could only afford records in thrift stores. Then you could find wonderful things, but now everything is a collectible. I like the recycling idea --using the stuff that people don't want anymore, and make new music out of it. There was an element of looking back and listening to your parents' records and doing something with that stuff. Sort of acknowledging the past while rejecting it at the same time.
I feel like there isn't as much mystery to music anymore. That could be a good thing or a bad thing. There definitely is no seperation anymore. Your connection with your fans is like two clicks away on a phone with a Twitter or a blog. I think that's a good thing. It's a new music industry. You're really connected with your fans.
The process of introducing people to new music is amazing. It's a gift. One of the best parts of any day is when someone says, 'Hey, check out this new band...'
I think this insatiable need to get to know new music is a big part of why it has lasted so long.
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