Ludwig Goransson Quotes

When I listen to music, there's usually some aspect of that music that I like, and that's what I take and try to bring into my own music. Bringing in other musicians to collaborate with is a good way for me to test out new ways or make music that I might have not discovered on my own.

You have got to make new music, that is the way that I look at it anyway.

To be able to take music and do something as profoundly original as what we did with the Allman Brothers, you've got to put some time into it.

I'm always looking to create new avenues or new visions of music.

To keep creating something with this type of music, you have to take it out of the box.

I'm influenced by a lot of different genres of music. So I'm constantly trying to rework production and make things interesting in the live show and on records.

I feel like my music is like - there are always new influences in there.

We never sit down before we start making a record and talk about this new sonic palette that we are going to try to explore. We always let the record kind of reveal itself to us over time.

I love all Yes music and love to play it live, but I'm most interested in making new music with Yes.

For me, something will come in my head and I'll either end up calling my cell phone to record it, or I'll just pick my guitar up and see what comes out. Sometimes it sucks, sometimes it doesn't. So there's really no set method behind it.

Musicians are always eclectic. Musicians are always curious and hungry for new things.

It never gets boring for me because there's so many different things to explore in the studio. The studio's become the sanctuary that people have come in and found new things out about themselves, as weird as that sounds. But it's true, I'm no different. I've made some crazy hard records, and I've made a jazz album.

You'll find little schools of musicians experimenting with different ways of making music in Brooklyn, all through Manhattan, in Queens, in Jersey, you know? The city is still bubbling with creativity.

I learn stuff from making music every time I go in the studio. I'm continuing to try to find new ways to play in a song or be in a song and have a positive impact on a song.

I started to work up in my old bedroom, playing, writing songs, and it somehow came to me that I could introduce soul music. Nobody seemed to be doing that.

I just play, and I'm always trying to write songs.

I never thought that I would be creating my own 'cross-over' genre. What I did was very real and organic. I have worked in so many different styles so it all just came together.

Any talk of 'craft' makes me laugh. My music looks outward; it does not gaze upon itself in admiration. Artisanal is for cheesemakers. I don't know anything about music theory. Every time I approach my guitar, it's like the first time. There's no craft in that.

I spent two years figuring out how I could turn it into something that would satisfy me as a musician but also make some kind of cross-cultural link. I feel that I kind of at least touched on the possibilities of cross-cultural music, but it is a lifetime's work, and I don't profess to be anything other than a novice at it.

I love going into the studio with just an idea of the direction. Like, I want this tempo... I love to start from scratch, and the tracks sort of take on a life of their own.

I'm always pulling and really feeding off of my inspirations. I think most musicians do.

I really just care about making music and how I can make it next.

I like to experiment when it comes to music.

We don't want to box ourselves within any type of genre, you know? Whatever feels good, if it moves us and we like it, we get on it and make it our own. That's what we do.

When I'm at home creating music, I usually wind up laughing. It's always, like, funny - like, what the hell did I just write?