Zaytoven Quotes

I'm just experimenting with every different type of music you can imagine and seeing where my voice lies and what sounds best. I think when I do finally do the album it will be very eclectic - just loads of different stuff on it. That's what I am hoping.

I think I've always approached making albums pretty much the same way. I'm just looking for a mixture of songs and topics that aren't the same thing over and over.

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.

When I first started making music, I wrote the lyrics first, but now, because the music has got kind of wilder, I've flipped it.

Actually, with 'Truth of Touch' I wasn't even intending on making an album. I was just having fun. I had about a six-month period of down time, and I'm not very good at sitting around. So I kind of started going into the studio and having fun with new core mendin sounds.

I'm never too ambitious when I go into the studio. I always know that I'm just going into the studio to work on or try to develop an idea that I have for a song.

I can make any type of music, so I wouldn't want to describe myself as having one type of sound. I think music is about keeping it diverse.

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.

When I first decided I wanted to make beats and write songs and stuff like that, it wasn't like I sat down and the first thing I wrote was even halfway legit. It took a while to find my way through it.

I think my music has always been a mixture, depending on whom I'm working with - what band, what musicians, what producer.

The way I perceive an album to sound and the way I put out mixtapes are two different energies. There's a different focus; there's a different sound.

When I go with different producers, and they've thought about what they want to do, I think they feel a little bit more free, because they know almost any sound will work on my record if we pull it together properly - so they don't feel so limited.

I feel like guys, girls, whatever it is, you just come out hoping to make the best record. You just try to have a conversation and just create what you've talked about. Whatever you find to fit the beat at the time, what the person is down for, wherever the beat takes you towards.

I play a little bit of everything. I beat on the walls. I whistle. I scream. I go outside and scream because it sounds cool when it's recorded. I play drums on a chair. I snap, clap... just anything to build the track and make it feel like I want it to.

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 play so many different styles that I don't think anything I do surprises anyone.

I try to do records sometimes that have a different bounce - maybe it's a Southern bounce or something.

The thing is that when I'm making music, I'm not really chasing that sound - the Atlanta sound that we hear a lot.

All the big loud housey songs came from the idea of 'I want to create the same song over and over again.' Except that I've created each one in a different location, or a different mindset.

Every album is unto itself, so whatever sounds we need to come up with, like way back when, we needed horns. So we invented the Lone Wolf Horns, and we learned how to play horns.

It just so happened that the sound I've developed has the Memphis origins to it that made Drake wanted to work with it.

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.

I just like a beat that grabs me. And then I'll come up with a concept after. I like to take my time with music.

With 'The Theory of Everything,' it seems that people really like the voice I've found with the music, which is great. But I may not do that again. Every project is different.

Really, I just sit down, mess around, and play with sounds.