Jack Garratt Quotes

There are right and wrong reasons for doing solo projects, and this album was done for the right reasons. At the time there was no Judas Priest and I certainly wasn't going to hang my hat up on my musical career.

People criticize you for trying new things. I think, 'I'm new! I'm 22!' I don't know exactly what my sound is or what I want my album to sound like, so I'm not releasing it yet. While I'm experimenting, I'll let you in on the journey, and you can hear it for free.

I really think I've found me finally in the music. You know, I had put an album out before, 'Embrace Me,' and it's been seven years since that. So I was discovering who I was. And I still am discovering, but I think now I know a little bit more of who I am. So that's what's pushing me.

It's quite liberating to get to a certain age, 'cos you're not chasing number one hits or trying to be an international superstar. I've done all that. I'm not out to prove much more to anyone but myself really, to be an artist and see if there is a new undiscovered music out there for me to make.

Yeah, I put out some goofy stuff. I had no idea who I was as an artist at all before 'Posse on Broadway.'

Actually, the whole thing of being a solo artist has been such a learning process for me. Since I departed from my previous band, NIGHTWISH, it was the whole beginning of my career, there was stuff in the air. I had to learn so much.

In my honest opinion, in 'Volumes I' and 'II,' we were still trying to figure out our sound.

Everyone has their own journey, and for me, going from singing background to writing songs has truly opened doors for me and has also helped me find myself as an artist in terms of what I want to say and the style of music I want to have.

I knew exactly what to do in The Seekers but I didn't know what it would be like to be a solo artist.

I think I'm gonna do more songs on my own.

What inspired me was the love of making music and having no one around and just saying, 'I've gotta figure this out.'

Obviously 'Stranger Things' has given me the launching pad to have creative license for whatever I want, and I love doing the show, but when it comes to music, I want to distance myself as much as possible.

What I decided was I'd be happier not being in the confines of a corporate infrastructure producing music. That's when I was free, and it opened up the door to have a different personality and incarnations. That's really when I had success in my music life. I was able to license my music.

I've always wanted to do a solo project. I've always known I wanted to be a musician.

I feel like, for me as an artist, it takes me a while of living with the tracks and living with the body of work to realize what it's all about.

I think, probably, being a young artist, there were a lot of things I thought I knew and I wanted to do, and I was like, 'Oh! That's what I want to do.' And then it took me in a different direction with 'I Think We're Alone Now,' and then all of a sudden, I was a pop star.

When I was, like, 18, that's when I started to really take my own craft seriously and just noticed people were enjoying it. And when I put out my first mixtape, that's when I realized I could make this a career.

I did get a reputation for being choosy and not very easy to be approached, and none of that is true. It is not that I am not approachable, it is just that I am trying to find myself and establish who I am as an artist.

I'm just concerned with going about my business and making the records I want to make.

I don't want to put myself in any kind of a box as far as my sound goes, because being an artist is fluid. If you look at a painter's work, a lot of times, it's similar in style, but other times - over even a year's period - it can change so much. I'm just going with the flow.

It's exhilerating to be able to explore my own voice.

As we develop, I just see us following our heart on this musical journey.

I didn't want to be a one-hit wonder. I really wanted to make albums that had a different aesthetic every album and a different sound.

Experimenting is part of the process. I remember when I was younger, I spent a whole year just writing on straight trap beats because I just wanted to be able to do that at a high level. So it's about perfecting your craft in every way.

Arthur Russell is very important to me on many levels, and when I read Tim Lawrence's biography on him, 'Hold on to Your Dreams,' one of the things I took away was: first thought, best thought. I live by that when I make my own music.