Jim Root Quotes

I don't think there's ever been any music quite like what we came up with.

I can run the gamut with beats that no one else would think of. I'm not a trained musician, so I focus on what feels right before I dispatch to writing.

Playing the violin and singing and whistling are just three different ways of making sound. It's not trying to replace a band, per se. It's become a completely different thing. And it's not just simply an effect. It's just a very surprisingly intuitive thing.

I picked up the bass kind of postpunk-style. There's a real art to not learning how to play an instrument and being able to still play it.

I wanted to make a record that worked against the hypnagogic paradigm, for sure.

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

I didn't follow the standard rules of bass playing, and many musicians on many different instruments who became noteworthy for their unique or particular style did a very similar thing.

I don't have to put out another rap record. I can do it at my casual pace.

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.

All these other nations seem to appreciate what I'm doing and they want me to play the furthest out things.

I don't think my music's as traditional as people make it out.

A friend of mine once told me that I can't screw up when I play my own music. I also take voice lessons, play other peoples' songs out of music books, and occasionally figure out how to play other people's music from records. This keeps my ears, fingers, and mind working.

The passion and spontaneity in music is all gone.

My music is very innovative, in a class by itself. Nobody else is saying anything of value. What I'm trying to do is get people to think, to alter their consciousness. It's not your typical platinum formula for success.

It's interesting the kind of freedom the musical form gives you. The rules are out the window. You can get impressionistic without seeming pretentious. Because it's perceived as an inherently accessible form, it gives filmmakers some leeway.

Ironically, my tastes aren't that experimental, and I wouldn't describe my music on the surface as being overtly experimental, either.

Bjork has this kind of abstraction and formalism that you associate with art music or avant-garde music.

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?!'

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.

My roots are in classical music and jazz, and I want the freedom of being able to improvise. This freedom is possible only in a live concert.

I just became accustomed to being all the members of the band. That was something that was really exciting to me.

It's always been a conscious thing for us to do whatever will separate us from the pack and make us happy musically.

My idea is to take the improvisational excitement that takes place with Carnatic music and juxtapose that in different sonic contexts.

Being associated with songs that push boundaries is amazing. If the rest of my career consists of a majority of songs that are experimental, I'll be a happy man.