Peter Hook Quotes

I feel that when you care about your music, taking risks is something you should do to keep things exciting.

But that's something that I like about scoring film: it makes me reach out of the parameters of my self, it requires me to do things musically that I wouldn't normally do left to my own devices.

I don't think I'm getting better, quote unquote, as a singer or guitar player. But I'm more comfortable in this particular space. I get better at being a bad singer, so to speak.

A lot of people from my generation of music are so focused on playing things correctly or to perfection that they're stuck in that safe place.

I don't regret any of the musical decisions I have made.

I got bored with the old way - it came too easy. I worked until I could play and chord changes at any tempo in any key, and then said 'What else is there?' Now I'm finding out.

We are rich in the quantity of songs rather than in the quality. The singer has to go through hundreds of compositions before he finds one that really says something.

What's cool about indie rock is that one band can do effectively the same thing as another band, and one band nails it, and the other one doesn't. I like that elusiveness.

Improvised music involves a lot of intuition and I like developing intuition.

In the past, I tried to be more of a typical session guitarist. I wasn't so concerned with impressing anybody.

When a lot of musicians change styles, their songwriting suffers because they want to be different.

I changed my mindset and figured, Why not try to be really entertaining instrumentally?

Music should always be an adventure.

I realized pretty soon that I have to do more than just play bass in the background way. So, I developed a kind of playing which only a handful of musicians accepted.

What happened with reggaeton is that many artists kept recycling the same sound. But there are a lot of reggaeton artists that are still in their prime - like Daddy Yankee - because they've chosen to continue growing, to offer people more than just reggaeton. That's where I learned to always be able to try something new and not be afraid.

Sometimes it's very hard for other New Orleans musicians to break out. It starts with the musician. They have to be willing to take a risk. Playing in the city, you can get comfortable. You think things are going well, but you're always in the city.

You have to have a sound that inspires you to play because, if not, you won't be able to make the sound you have work. You won't be able to make magic with it if you're not happy with it, so it's important that you at least please yourself to the level where you can just relax and be an artist.

Brainfeeder makes me want to keep generating better music.

In music, I wanted to make sure I was innovating.

Reggaeton is what opened the doors for me, and I'm always grateful for that. I'll do reggaeton for life, but I want to show that I'm an artist who can do everything.

It's all about the balance. For musicians, me personally, you just can't keep doing covers or mash-ups. It would get old pretty fast.

I told all my punk friends, 'If I'm gonna do country music, I'm gonna milk it.'

It's incredible how much beauty exists in the world of music and how many artists you can really inspire with your own work.

I listen to all kinds of music and sometimes I try to do something that's referential to an era or a genre, but it still sounds like me.

I never really had the chance to play the kind of music I wanted to play. It was always just classical. It had its limits. I play piano now and again in the new forms of music that I actually want to play, but at the time, it was something that I just kind of moved past.