A Quote by Glenn Danzig
So writing a song is much harder than doing a classical piece for me, because in a classical piece, I can just let the mood dictate what's going to happen.
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Whatever's going on with me at the time of writing is going to find its way into the piece. If that doesn't happen, then what the hell am I doing? So if I'm writing 'Inglourious Basterds,' and I'm in love with a girl and we break up, that's going to find its way into the piece.
You know I'm a bit of a dag because I listen to classical music. I recently bought myself an iPod and downloaded every piece of classical music that I had access to onto that.
What I feel is there are certain demands that you have to satisfy in any piece of writing. When it's just for me, it's just for me, but if it's a piece for a particular publication, I know what they're going to ask for.
Being from a classical environment, I've always been provoked by classical musicians thinking that classical music is so much greater art than pop. I've always been annoyed by that.
I'm not a classical player. I don't want to be a classical player. I love to improvise, because things happen that never happen anywhere else.
I wanted to make an album where every song is kind of interacting - where you can't tell what's the string arrangement and what's the song. I guess that came out of going to college, majoring in music, studying classical music, and even as a kid, being really drawn to classical music.
Once a piece of writing gets to a moment where it's not going to get much better than it already is, marinate it. If you still like the piece, send it out and see what others think. If not, it's time to put it away and forget about it for a while.
It wasn't until I found my tribe of artists - people who were outspoken and not afraid to say what they thought, whether in a song or a dance or a piece of classical music - that I found a refuge.
I've always been a lover of classical music ever since I was an early teenager I suppose. I remember the very first piece of classical music that grabbed me was I bought an LP of Daniel Barenboim performing Mozart's piano concertos and I would have been about 14 or 15 at the time and I remember I played it over and over again.
Personally, I think young musicians need to learn to play more than one style. Jazz can only enhance the classical side, and classical can only enhance the jazz. I started out playing classical, because you have to have that as a foundation.
I love classical music, but I hated classical guitar. But I like flamenco, because there was something else there going on. It wasn't just the notes being thrown at you. And there were certain kinds of jazz that I really liked and other kinds that just went right over my head.
At the end of the day I'm not just sending beats in. I'm mixing the song. I'm recording the song. I'm engineering the song. I'm in the studio helping with the songwriting. I'm doing the whole beat - every single piece of it is me.
My mom was an opera singer. She did all the classical music, and I heard it. I know every opera. I know every classical piece of music.
If you decide you're going to do the piece, you're doing it because you love the writing.
It was missing a piece. And it was not happy. So it set off in search of its missing piece. And as it rolled it sang this song - "Oh I'm lookin' for my missin' piece I'm lookin' for my missin' piece Hi-dee-ho, here I go, Lookin' for my missin' piece.
In terms of love and romance, it just seems less and less like that's ever going to happen again, or be a possibility for me. I feel like I've irrevocably lost so much. You want the surprise, but it gets harder and harder to find, whether we're talking about romance, or somebody else's song, or your own song.
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