A Quote by Natalia Lafourcade

I wanted the music to sound, like, made in Mexico. I wanted to connect to my roots. — © Natalia Lafourcade
I wanted the music to sound, like, made in Mexico. I wanted to connect to my roots.
When I was coming up in Miami, the music in the city at the time sounded completely different. I loved it, but it just wasn't the type of music I wanted to make. I wanted my wordplay to be more sophisticated. I wanted the sound to be more lush. I wanted my music to sound like who I was and aspired to be - boss.
I never wanted to be that fad type of artist. When I looked up to artists, watching TV, I wanted to see somebody. I wanted to touch that person. I wanted to sound like them. I wanted to move like them. That' s what I want my fans to do. So that's why, everything that I do, the music I make, how I dress, it's all based off my lifestyle.
I wanted all the music to sound strong. It's all down to the restoration and mastering. In many ways I feel the work in general was never properly mastered in the first place. To me, making the music sound the way we wanted it was by far my biggest goal with the re-issues.
I think from the very beginning with 'We Are Young,' there was never any question about where we wanted the song to go and what we wanted it to sound like. And we knew that we wanted it to be big, we wanted it to be booming over the speakers at an arena or something.
Well, obviously I wanted it to sound as original as possible. I suppose the influences that we had were probably from the actual power point of view we wanted to be like the Who. Vocally we wanted to be like the Beach Boys, whatever was good at the time.
I kind of always wanted my own music to just sound like, like me, I suppose, like if I was music it would be the music I make, I think.
I don't like listening to my music, not even new pieces. Generally, they sound pretty much like I expected them to sound, so it's what I wanted, and that's it.
All my life, I wanted to sound like myself. I never wanted to sound like anybody else.
When I started making music, I just wanted to be the producer who sang the hooks. I wanted to be Pharrell, honestly, the one who made the beats and was in the music video with the girls.
I felt (a) it was a great role and (b) I wanted to stay in town. I wanted to stop going to these four month and five month gigs up in Toronto or Montreal or Vancouver or down in Mexico. I wanted to be around my son, Max. This came along and I was like, 'I really want to play this guy!'
I made the big turnaround in the early Nineties when I started hearing all the tenth generation punk bands like Green Day and Offspring and all those people. It just made me fall in love with punk again and remember my roots, and since that time I've always wanted to do more of that kind of music again.
I wanted to paint a picture some day that people would stand before and forget that it was made of paint. I wanted it to creep into them like a bar of music and mushroom there like a soft bullet.
I've wanted to write good pop music, beautiful pop music - not just throwaways. I've always wanted to make it sound luscious and beautiful and cinematic.
I never really planned on any of this being a career; all I knew for sure was that I wanted to create, I wanted to play music, and I wanted to share music.
I knew what real instruments I wanted and, in some cases, who I wanted to play them. I had started listening to a lot of ambient music and jazz and I wanted to incorporate stuff like that, too.
I think it was inevitable that I get into synthesizer music. I always wanted to deal with sound more than anything else. I couldn't get the sounds I wanted out of the piano.
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