Sky Ferreira Quotes

Most of the time I was in grammar school through high school, I was in some kind of rock n' roll band. I would say that at least 80 percent of my energy was involved with whatever band I was involved in.

I started writing music when I was 15 in my bedroom, and I'd post them on MySpace, and from there it shifted to doing covers on YouTube and building my Twitter.

At fourteen, I started sending out demo tapes.

I met the Santana band when I was 14. By the time I was 15, I was a member of the band.

I started young. My first record came out when I was - what? 18? So I was in the studio when I was 15, 16.

At the age of 15, I bought a USB microphone on a trip to the United States with my family, and that was my first recording studio.

I don't make demos. I don't have the interest or the energy or the time. Demos are something you do in the early stages of your career, but when you get going, you just go in and record the song.

I started making beats when I was 13.

I started writing when I was, like, eleven. We couldn't afford private lessons, so I had to teach myself how to sing through recording songs on GarageBand.

By the time I was about 15, I was out playing gigs and knew I was going to be a musician.

I was an engineer for a long time. I was a sideman guitar player.

I went straight from high school to Bible college for two years. Then I started doing music right out of Bible college full time. I did independent stuff for three years.

Demos are something you do in the early stages of your career, but when you get going, you just go in and record the song.

When I was nine, ten, I was super young, but I installed a program on my computer so I could start producing music.

I'd become a corporate rock musician. I worked for 'Chris Rea.' He felt like another person. I even talked about him in the third person.

I didn't know music would end up being my job, but I loved it so much I wanted to do it every day.

It used to be you would need a couple grand to make a record at a studio. Now, you can do it on freaking GarageBand.

We have started to make music at age seven. That was a hard work.

We [with Rick Rubin] would focus on the ones that we did like, that felt right and sounded right. And if I didn't like the performance on that song, I would keep trying it and do take after take until it felt comfortable with me and felt that it was coming out of me and my guitar and my voice as one, that it was right for my soul.

It was a very lucky set of incidents that led to Wham! getting a record contract - although we weren't Wham! when we got the record contract. We were nothing; we were just two friends who had written a few songs.

My main objective with a home studio - I could get into doing full band demos - but my first objective is to cut things like guitar tracks and solos at home.

I never stopped writing music, I just stopped writing songs. I've been writing music continually ever since the last album of original tunes, "River Of Dreams" in '93.

Everyone's [ me, Iain Cook and Martin Doherty] equally involved in all the writing. Normally we'll start with a sample or a drumbeat, or a synth sound or something like that, and that will spark the initial idea. And then we'll write an instrumental sketch of a song, and then we put on a nonsense vocal melody, which is always my favourite bit because it obviously sounds amazing.

I called the guys from Promise of the Real, whom I've been playing with, and they were all on the road. Right after I hung up the phone, I wrote another song and started writing another, and I'm going, "Hey, I can't wait. I should be doing this now!" My experience tells me that when it's there, it's there, and you can't make it wait. So I got Jimmy Keltner and Paul Bushnell, two good guys, and went in and did this record ["Peace Trail"].

You just make different music on a computer. And you can make wonderful music on a computer, but don't pretend that the machinery is transparent. It makes as much difference to what you're doing as it does if you play an acoustic guitar as opposed to a kettledrum. You're not going to make the same music.