Anthony Fantano Quotes

I'm a big fan of cultural music, and that's how I try to expand my playing, by listening to music that is not conventionally American.

Ah, the bond between English boys and California girls. For those of us who aren't either, it's a bond that fascinates and mystifies. So much of the world's favorite music comes out of that relationship.

I'm obsessed - not just interested, obsessed - with folk music, street music, the parallels between a country's street music and its so-called classical and intellectual music, the way certain scales have travelled right across the globe. All this ethnological and musical interaction fascinates me. Have you heard any trance music? That's the thing.

And it's very strange, but I think there is something very common - not only in Celtic music - but there is a factor or element in Celtic music that is similar in music that we find in Japan, the United States, Europe, and even China and other Asian countries.

What I'm trying to do, in my own small way, is trying to bring African and Afro-Cuban rhythms into rock.

There's a similarity between European and North African folk musics.

All over the world, the idea of creating an melange of international musics, it's a very healthy thing.

I guess fusion would be the best way to describe my music. I think it also goes into the spectrum of electronic and dance with inspiration from Indian folk songs.

We just love international music. We love the climate of that sound, it's that pulse that we just have to appreciate.

American music is a powerful ingredient in international music, and as much as it comes from within, it also comes from without.

I definitely see myself as an international musician. When I play, I respect the source of the music, whether it's Cuban, Brazilian or Israeli. I try to bring that to all of the music I play. Music has no borders and no flags.

My genre of music is called Afro-Fusion because I fuse different types of music into a ball.

A lot of people think that because I'm from Malaysia, I'm driven by Malaysian sound, but actually, it's mostly just my melodies.

English and world music were something that I had immense love for, and to get together with a fellow Indian and bring this sound and vibe to the world feels great.

I've been to India, Jordan, South Africa, Namibia, Senegal, Australia, Madagascar, Oman, The States, and a lot of countries in Europe, just to visit... I wanted to make music to connect all of these influences, and make a multicultural music with these experiences.

When other people look at K-pop with a more traditional Western lens, or when people listen to it, it may sound like a combination of all different genres.

I feel 'Love Letters' has been part of a longer journey towards a very simple, international sound in which the sitar is no longer exotic or classical, but simply a tool of expression when juxtaposed with the voice and cross-genre elements.

We have songs that are inspired by the Latin side. We have songs that are inspired by rock, African rhythms. Whatever country we go to usually inspires us.

I don't want to make music only for Latinos. The idea is always to make a global sound.

My singing is not Hindustani classical or too western. It is a balance of Indian and western music. That's the kind of music I grew up on.

I love British folk music, but I'm not obsessed with it. I love the Celtic stuff, and Enya is a favorite, but that's more electronic.

My dad is Jean-Paul Bourelly, a really prestige guitar player in Europe, and he toured with Miles Davis. I was always surrounded by the most prestige kind of musicians from Senegal, Trinidad, Poland, Nigeria, and all around the world.

I like hearing the sort of harmonies people get into in different parts of the world. I love music that has a sense of allure to it, and exotic tunes. That's what I'm drawn to.

I like making all kinds of music, it really depends on the moment. Sometimes I feel like making a weird trap song, and sometimes I can't even attach a track to a genre.

My music is very global.