PartyNextDoor Quotes

I've always had a lot of creative impact on the music with Timbaland.

I write a lot of my own music. I usually go in with a producer, and every now and then there will be another writer in the room.

You should find the dopest producer in your area, and that producer is always going to want songs written to his beat.

I'm always working on a new album because I'm always writing, and I'm always in and out of my home studio.

I tend to start with a full set of lyrics, and then my producer, Joel Little, and I work on the music collaboratively.

This is an album of songs that I've always loved, tunes that I heard. For the first time in 53 years of recording, I really had control over an entire album, start to finish.

When I am seriously composing, sometimes a phrase will come into my head, a catch phrase. When I was writing pop songs for a few years, as a career, separate from my folksinging career, I used to write songs for pop singers.

I don't think I can name any names or anything, but this is what I've wanted to do for a long time: to have Flume as my creative outlet and to work on the biggest songs in the world, like pop, and come up with the idea and send it off.

I'm so into making music and being behind the scenes. I'm such a visionary person that I don't see myself being the person in front of the camera or the person in front of the mic.

I'm used to producing all of my projects, doing all the beats, and writing all the hooks.

'Who Do You Love' was kinda cool to make. I just made the beat; I was self-determined to make beats at the time.

Working with Jimmy Jam and Terry Lewis was crazy.

We've been having a great time writing for other artists in and amongst making our Bastille albums and mixtapes.

Me and Thugger could make nine songs in a day and then choose which songs we like the most and think is gonna do something. With other people, it's like, we pick one song, and we hope it's the one.

As for song recordings - well, that's something that just happens. I've been working with music directors like Harris Jeyaraj sir, A. R. Rahman sir, and the experience is great.

For us, we make a song, and if we like it, it goes on a record.

I write a lot of my music, but not all of it. I have always subscribed to the 'best song wins' theory when making an album.

I was 16 when I recorded 'Flashlight.' I produced it, made the beat, wrote it, recorded it.

I want to literally quit drag and go live in the woods somewhere and write music for my favorite female singers, like Miley Cyrus or Kacey Musgraves. I would love to be able to write music for them and hear these women I admire sing my songs. That would be like doing drag without having to get into drag myself.

I started making music by myself and figuring all of that on my own.

When I feel it, I got it, 'cause, like, on 'Changes,' I didn't never know what that song was, never knew who it was or who did it, but Tom Brenneck asked me to do that song.

I would love to work with Calvin Harris because I think he's a really good songwriter and producer and he does everything, which I like.

I still love to go in the studio and write and all that.

I'm always making beats, and when I can hear Ezra singing on one of them in my head, I send it to him. That's one of the ways that we've always worked together.

I'm more of an artist and a songwriter than I am a DJ. That word seems a little bit - well, it doesn't really describe what I do.