Washed Out Quotes

I think of myself as a jungle musician because of my lack of formal training.

I've always wanted to dress like this, and I've always wanted my music to have the edge, the twist to it.

I'm always trying to come up with something new and unique. I do a beatbox with a harmonica.

I'm the renegade of funk. I've made house, techno, rock, funk, reggae... That's why I've been on so many different labels.

I'm amazed at how adventurous and how dangerous the music was, and still is. I haven't heard anything like it since. I'm quite surprised, because a lot of the music on there we never heard at the time.

The way I approach things is from an experimental folk music standpoint.

FKA Twigs is stunning. She has beautiful contemporary and unique sound with an almost psychedelic vibe. Her music is great for the runway.

I'm a big fan of '70s records where artists could draw on whatever influences they wanted.

I mean, Tool has a style, but we try to make all our songs sound different from each other.

I wanted to make something that I wanted to hear that I wasn't hearing.

I wanna record these girls individually. And then, I wanna cut a blues album on me. But all of it, original stuff, you know. When I listen to the blues today, it's like they all sounds similar. I wanna do something different, to try to add to the blues flavor.

He helped make Living Things even more crazy than I wanted it to be. He added old-fashioned piano and classical folk music - that weird otherworldly vibe - all these elements got onto the record.

People like Jeff Buckley, the Mars Volta and Bjork made me listen to music differently. You learn the voice is an instrument you can do crazy things with.

I am producing sounds that people are not used to hearing from the harp.

I didn't want to go out and change anything. I just wanted to make the music that was part of my background, which was rock and blues and hip-hop.

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

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

Sonic Youth could never really get it together acoustically - quite frankly, it wasn't something we were really that interested in.

The first artist that did it for me with just production was James Blake... I was just blown away... I feel like James Blake kind of was the one that introduced me into that world.

People should listen to my music if they are into a lot of different genres and kind of want to get it all at once, if they want to listen to a story, an interesting story about somebody else.

I've always been very progressive and as much as I play Old World music, I have this progressive tenacity to keep adding futuristic elements in subtle ways where you won't notice.

I'm trying to bring a little bit of every type of sauce into one type of sound. Something that's really fresh.

'Europe '72' was a super influential record full of fantastic songs and amazing experimental musicianship. I always valued both of those aspects in what Sonic Youth has done through the years - being able to get very abstract and very concrete within the same song.

I spent my whole musical career trying to be different and make songs that people think shouldn't go together... go together.

I think my music is a little shocking to some people because my voice is very traditional-sounding, and my music is not.