Martin Garrix Quotes

My formula is not thinking about what I'm doing; it's about still having fun and making music. I don't go into the studio with a thought pattern or certain goals in mind - sometimes I'll start with drums, other times I'll start with the piano - but it's all done spontaneously, so nothing is premeditated, and nothing takes a long time.

When I sit down to make music, I try to enter a flow; I always open a blank session and just make something that I feel like making.

I like people that can strap on a guitar and don't sweat the fact that you have to come up with a song in an hour. I want to work with someone who won't feel like they have to play along with Jason Molina. I want them to just have the confidence.

I never set out to write a certain kind of song, I just play my guitar and see if I catch something.

What I want to happen is to be really creative, and to play something new in the improvisations, every time.

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.

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?

I just love to sit and go, 'Let's just write a song and not worry about how it needs to be'.

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.

When I get into the studio, it's not about trying to get a good song, it's about whatever comes naturally.

Don't play the saxophone. Let it play you.

Most songs I write are spur-of-the-moment-type things. I have to be spontaneous. If not, songwriting can bore me. There is no pre-design or idea of what I am going to do when I go into the studio. It's all like that for me. I could go in and write two or three songs in an eight-hour session. You can't over-think songs. You just can't.

I had no idea what I was doing when I wrote 'Search.' There was no carefully designed work plan. There was no theory that I was out to prove.

Usually I like to improvise. Sometimes, depending on the nature of the piece, I like to improvise because I think it brings certain freshness and a reality to it, as long as it doesn't go too far out of the box.

What I always try to do is to respond to the song; I've always rebelled against theory.

With Zeppelin, I tried to play something different every night in my solos. I'd play for 20 minutes but the longest ever was 30 minutes. It's a long time, but whenI was playing it seemed to fly by.

It's cool to have instruments lying around because they give you different ideas.

The only element of jazz that I keep is improvisation.

I never have a plan of what I am going to draw.

When I start writing songs and it turns into an overly belabored intellectual process, I just throw it out.

My songs emerge from my life, or wherever they do, unbidden and unplanned and completely on a schedule of their own.

I love to improvise when it's appropriate and encouraged by a producer.

I tried several times to get the song right. The tune and the chords that I started with, there really wasn't anywhere else it could go. I stopped fighting it and let it take me away.

I didn't really know what I was doing when I started. I just started writing songs. After two songs I just continued to explore it.

The way I work on music is that I go into my studio, and I start playing music, and I see what happens, and... I never think about it.