A Quote by Manika

It's really important to me that my sound is a combination of beats and melody. — © Manika
It's really important to me that my sound is a combination of beats and melody.
It's really important to me that my sound is a combination of beats and melody. I love hearing strong, confident beats in music because I love to dance. At the same time, melody is really important to me because I love singing.
Melodies can be good depending on the context. You can have a simple melody, and if the harmony behind it is interesting, it can make a very simple melody really different. You can also have a complex melody. The more complex it is, the harder it is to sing, and then sometimes it can sound contrived. You could write a melody that would be fine on a saxophone but if you give it to a singer, it can sound raunchy.
I love hearing strong, confident beats in music because I love to dance. At the same time, melody is really important to me because I love singing.
I would describe my sound in the field of electro pop. A combination of deep yet simple lyrics coupled with easy beats.
Sometimes I go in and try to write beats, but I just trash 'em, and then the next time I go in, I'll make like six beats - six legit, nice beats. I'm really particular with how it needs to sound.
I've been very lucky in that the studios really respect me and they give me all my creative freedom. But nevertheless, they are inputs, they have opinions. It's the same thing for me as if you're in a shower and you're coming up with a tune, with a melody, but there are 70 people trying to sing their own melody at the same time. So you have to focus and concentrate, and not lose the track of your melody.
For me it's always contingent on getting a sound-the sound always suggests what kind of melody it should be. So it's always sound first and then the line afterwards.
I never made a distinction, really, between music and sound. Let me explain what I mean by that. I grew up near to a train station, and the sound of the trains became a very important part of my world. It was a very musical sound to me.
A lot of the stuff I've accumulated over the last few years of touring I thought was really interesting. Like sounds, sound bites, and beats even, but they weren't good dance beats they weren't ones anyone would want to rap over or anything.
I have a real love of sound and the shape of the sound. I'm a musician, and I'm fascinated with the effects of sound, and tone, and pitch and melody and all that sort of stuff.
I think that music, beats, melody, sound are a natural part of our DNA, our vibe. It’s just a part of the cycle of our lives, we’re born, we have eyes, we have music.
Yeah, with 'NASARATI,' that was my first project. I really worked literally three days on it, writing on the beats and putting it together. I'm not saying that I don't love the mixtape, but it was really my first, first move in rap. I tried to make sure everything sound different, so you hear no two songs and think they sound alike.
The beats change, I mean you got a lot of artists out there advancing new sound, new technology, new beats everything sounding very futuristic, so I feel it would have been boring for me to do another hip-hop record.
When comedy is good, it's jazz. The beats of it, the looseness, the improvisational part, the music-the way you hit the inflection, the high notes of a joke. It's all melody to me.
I was able to interpret the difference between the sharp, quick sound and the slow, deep sound of percussion and manipulate it, get a third sound out of things, if the beats were rapid enough.
Melody is the first thing that comes to me when I'm songwriting. I learned piano classically first, and then I went into soul, and so melody has always been the first. It's so important.
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