Chloe Kohanski Quotes

I don't think I really make singer-songwritery-type music - it's not my strong point.

I just really want to make - to be cliche about it, I want to make pretty music. Like Roy Orbison or Elvis, man. Those guys made beautiful, tender music.

I mainly like to do singer/songwriter kind of stuff.

Writing songs is really about writing. It's not about necessarily focusing on one particular style or making it one particular thing.

Doing the instrumental thing, you're really looking for the power of the melody to carry the record.

We knew we wanted to put a lot of melody into it - a lot more than what we did on our first album.

To me, the lyrics of the song define the kind of style it is.

I love Bill Finn's stuff. It's so rewarding for an actor. It's conversational but intricate. He writes some beautiful, simple songs and melodies, but he also writes this cacophony for people.

It doesn't take much for anyone to pick up anything I play - it's quite simple. I go for a good song. And if you hear a good song, you don't dissect it - you just listen, and every bit seems right.

I like to always do my best to make music catchy, so I think a very catchy melody is cool.

I feel so lucky that I feel the music is at the forefront of Audioslave, and the songs are the most important thing.

When rock came along the lyrics and melodies became less important and it bothered me to think that perhaps they might not regain the value they have to music - they are music.

If you listen to the great Beatle records, the earliest ones where the lyrics are incredibly simple. Why are they still beautiful? Well, they're beautifully sung, beautifully played, and the mathematics in them is elegant. They retain their elegance.

The bass line is the anchor for me. I started with the bass, and either doubled that and then added the harmonies, or sometimes added my own harmonies that I've always wanted to sing on the song. And then it just went on from there - singing violin parts and trumpet parts and just trying to emulate the sounds of the instruments.

Aretha Franklin's 'Let Me in Your Life' is one of the few recent R&B albums that places the emphasis entirely and deservedly on a voice. Many R&B producers have been making records on which the singer is outshined by the song, the arrangement and the sound.

I've made three studio albums and one live one with my brother. It's melodic singer-songwriter acoustic-rock music.

Like, when I write a song, the song comes first before production. Everything is written on an acoustic guitar so you can strip away everything from it and have it be equally as entertaining and good without the bells and whistles.

Every single note on this album is there for a reason.

Country is bringing in a little rock element... a little '80s element. Melody is king now. But its just in the music, its not so much in the songwriting, which is still very basic to the storytelling aspect of it.

It's never easy to write a song. It's the most difficult thing I do.

Ever since Two Daughters I've been composing my own music.

I really believe that we're a studio-based band, and I have always thought that.

I realized that, for me, great records always moved me with the lyrics and the melodies. And so I said, 'I think I can do it now,' 'cause I found a team of people who understand I didn't want a record that was 'drop it, pop it, shake it' just 'cause I can dance.

Songwriting isn't always something that's directly proportionate to the experience.

For me it always comes down to what is a good song and I'm very old fashioned in the way that I like to make songs that have something classic about them whether you can play them with an orchestra or an electro synthesizer or an acoustic guitar.