Aldous Harding Quotes

I knew that collaborating on songwriting would be difficult for a lot of people, because I was known very much, for my independence and the fact that I wrote these quirky songs that were not typical structure, not typical sound - you know, really original stuff.

A musician should only sound like what they do, and no two musicians sound the same. It's an individual-feel thing, you know?

I sometimes listen to music I made and find it to be something I wouldn't want to buy from a store, if there was a store. When it's like that, you have to make what you want to hear.

Babymetal's music is kind of - no one else creates this kind of music. When Babymetal first started, we wanted to give the impression of like, 'What the heck?!'

I feel like with '2.5,' I created another style that nobody else is coming with.

I'm just trying to avoid any sort of generic kind of music - I don't want to do generic jazz or fusion.

I don't want to be owned by a corporation and obliged to make a certain type of album. I want to be free.

When I listen back to my music and everyone else that's out there, I'm aware that there's something I can do that the next guy doesn't do.

I think of a band like Animal Collective where they really follow their own sound and I think that's a really important thing to do. You can find an audience if you can find your voice.

I like to think of my style as pretty versatile. And I'd like whatever I record to reflect that to be mostly genre - to be just something that people want to listen on to see what I'm going to come up with next. That's the kind of music I'm into.

I love artists like Jon B, but I don't wanna be compared to anybody. I'm just doing my interpretation of rnb and how someone like me should be doing it.

Our band was different. We were still playing rock 'n' roll, but we had an entirely different sound: just one guitar, but an organ and a saxophone.

'Maxim's' was supposed to be on 'Ekstasis,' but it was very much in its own world.

You hear ten seconds of a song, and you know it's OutKast. There's a strangeness about it because it's catchy, but it's not just pop for the sake of pop. They're pushing the envelope.

Every Dirty Projectors album is a world unto itself.

There are songs out there in the world which, in some ways, seem so unmusical.

When I heard Flying Lotus, I was like, 'Wow, okay, everything can be off the grid.'

Working with Timbaland, you know it's not gonna sound like anything else out there today. The sound is very next-level.

There is a solo on 'Spiders,' albeit a kind of a non-traditional solo, but that's what I love.

I think Young Thug has such a weird style I love, especially the things he does with his voice. It just sounds different.

I used to like Lady Gaga. I still love her. But what I like about LMFAO is that they're completely outside of the box; they're completely different. They're not ridiculous, but they are not afraid of it. And also, it's a certain type of artistry.

I have always had an audience for my music, even in the very avant garde, crazy times.

I know how to do music, no matter how weird I look on stage with the face paint, mask, and hospital scrubs.

Music doesn't have to sit within the confines of pop structure, you can really make stuff that's more visual.

If you make a strange, eccentric record - like the Velvet Underground's 'White Light/White Heat' - it takes on its own mood because it's less about a shrewd marketing plan; it's more about an individual emotion.