Kygo Quotes

I always try to evolve my sound - innovate, improve, be different but still Martin Garrix. It all starts with an idea in my head, which I work on until it starts to shape itself into a track.

When I'm in the studio, I'm experimenting, trying things on.

And then when I found my sound, it took me two and a half weeks to find my sound and when I did I pulled out all the stops, all the stops I could find.

I don't think we'll ever use the same sound techniques.

Music has to change. I don't want to stay the same forever.

I like being in a recording studio. I like watching a song go from the simplicity of the original music.

It's amazing to me to see how bands evolve and how they take all their influences and come up with their own sound.

You've got to put interesting people around you; you've got to work with people who are gonna inspire you to take the songs you've written into a completely different direction, because there's nothing more boring than going to the studio and predictably knowing what is going to happen.

I think it's always important to constantly keep the band on their toes and try new things that you hope will work. That's how 'Apologize' was born, and maybe down the line another little song will be born by that mentality. I've always really liked that song.

Like many musicians, I don't look back much... only concentrate on what music I'm doing, and occasionally look ahead.

I would join a band, learn from that band and be committed and passionate and bring my thing to the band. Then, when I felt like we were going to repeat ourselves, and I needed to learn more, I would go somewhere else.

I've always been interested in what happens in the studio.

I realized I liked being in the studio and working on translating the ideas into recordings.

People think that when they're playing it safe, they're trying to preserve what they have, but there is no preservation of what you have in music. There's no safety in music.

Music changes, and I'm gonna change right along with it.

I got to realizing that I wanted to record, I wanted to experiment. And doing those same old songs the same old way - I said, 'I think it's time for me to have some fun.'

Working with Prince, it's kind of like he's opened up this whole new world, especially with the horn players. And I'm like, 'Man, only if I had strings on this album, too.' And I'm like, 'I wish I had an orchestra.' So I just, you know - I just wonder what's next, you know. I just want to constantly push myself for more.

Miles Davis would have this lineup of all these amazing musicians and one day would just say, 'We're done.' After tons of great records and tickets sold, he said, 'Now I'm going to grow my hair out and play my horn through a wah-wah pedal.' Rather than play it safe, he went on.

Certain jazz musicians just copy what was done 100 years ago. The music won't grow if nobody takes a risk.

I'm not interested in re-creating the same blues I love so much. I'm interested in pushing boundaries.

Sometimes you write songs that don't all fit together. What do you, just throw them away? This might be a chance for growth and learning. It could be a horrible fall-on-your-face kind of experiment.

My first year making music was very experimental. I was trying to find my sound. My second year, I was more in my element. I knew what type of production I wanted to go over and the topics I wanted to address.

I always want to keep moving musically and trying new things.

I know all my different formulas to get certain sounds. I've been doing this so long that I don't experiment anymore. Or let me rephrase: I've been doing this so long that I don't have to experiment as much. You always want to evolve and change, but if I go in and I know it's a certain type of song, I know exactly where I'm going to place the mics.

I worked on 'Cadillactica' with the mind to not sample as much and focus on creativity.