What So Not used to be a lot more dance-y, and now it's becoming a lot more melodic. Flume has always had that melodic thing, but it's starting to become a bit heavier, so it's just difficult to navigate between the two.
I love heavy music. I keep Flume nice and melodic, so I save the angry, testosterone-fueled heavy stuff for What So Not. I think it's a good defining thing for the two projects.
I had glasses and was kind of weird. A lot of actors are pretty weird people.
I was very introverted. I had glasses and was kind of weird. A lot of actors are pretty weird people.
The Yale group was doing the Harold. So by our senior year we were trying to do the Harold. Again, we had no idea what we were doing. We had one guy in the group who was pretty experimental; he would kind of push us to do weird things. It was really fun, a great experience.
When I was at 205, it was kind of weird eating whatever I want and not getting trimmed and not really being disciplined with my diet. It was kind of weird.
I think it's very pretty. Can it be pretty if no one thinks it's pretty? I think it's pretty. If you're the only one? That's pretty pretty. And what about the boys? Don't you want them to think you're pretty? I wouldn't want a boy to think I was pretty unless he was the kind of boy who thought I was pretty.
I think the B-52's were a huge influence on Sleater-Kinney. The way that there'd be a really interesting guitar line that'd be really melodic and kind of simplistic, I really related to that. The sense of melody is really intense and fun. It's not just traditional song structures, but it's very melodic and draws you in, in kind of an immediate way.
You're always as a musician trying to shock yourself or create music that's maybe even too weird for your own taste. In my case it's kind of weird because I started out being known more for ambient things and ambiguous music, but what's experimental for me is the more traditional structure. For me, experimenting involves traditionalism.
I keep getting these extraordinary letteres, really weird ones from American sports stars - I've always thought you were one pretty lady and now that you're single I want to meet you for a drink.
I keep getting these extraordinary letters, really weird ones from American sports stars - I've always thought you were one pretty lady and now that you're single I want to meet you for a drink.
I just really remember the feeling of being a younger comedian who was kind of an outlier for being experimental and weird and how that could feel lonely or hopeless.
But in Shimabukuro's hands, as he breaks out experimental jazz, lays down a steady blues train, or shreds on rock anthems, this little jumping flea becomes a melodic monster.
Me, l'm a weird person, so my music is kind of weird, but l want my music to be weird.
I love to read and teach experimental fiction but yes, neither this work nor my first novel is really that experimental. It uses some experimental techniques but in the end, I would not say that it is experimental. I'm not sure why. I do a lot of writing on my own, and I have always just written this way.
I always want to have time to experiment, and have transitional things, and have these weird non-songs, but usually the stuff I'm working on comes down to this weird deadline, where it just never happens, and it's kind of a bummer.