A Quote by Nneka

I always like earthy, authentic sounds. — © Nneka
I always like earthy, authentic sounds.
If we have authentic, honest, earthy materials in our houses, we'll be more authentic, honest and natural.
My childhood growing up in that part of Glasgow always sounds like some kind of sub-Catherine Cookson novel of earthy working-class immigrant life, which to some extent it was, but it wasn't really as colourful that.
I began as a dramatist in the theater, so I'm always thinking about how a story moves, what it looks like, how to engage the senses, how dialogue sounds, what feels authentic and sounds real, what's funny, how to build distinctive and original characters - all the aspects of playwriting, scene-building, the architecture of dramatizing.
I've become so earthy. And I never was earthy. I'm doing all kinds of different roles which are not at all like the intellectual and the legal mind of Ben Stone.
The rush of creating sounds and mixing sounds is always an interesting challenge, especially for someone like me, who doesn't know about sound.
You have to find your own shtick. A Picasso always looks like Picasso painted it. Hemingway always sounds like Hemingway. A Beethoven symphony always sounds like a Beethoven symphony. Part of being a master is learning how to sing in nobody else's voice but your own.
I'm always looking for sounds that are pleasing at the time. The sound of a helicopter is really annoying until you're drowning, and it's there to rescue you. Then it sounds like music.
On its fifth full-length album, 'Cervantine,' A Hawk and a Hacksaw's love of the Balkans continues unabated, but with new songs and collaborators. In 'Uskudar,' the music finds an equal balance of sweet, sour and earthy sounds with nimble string melodies and a grunting tuba.
I like the sounds of EDM; the guys create new sounds, beautiful sounds. The melodies, it's a little less. I like the kind of melodies I did with Donna Summer, or 'Flashdance,' where you have a verse, a chorus - a song setup.
I think a lot of electronic musicians are drawn to starting with texture because the whole reason we're working with electronics is to try to create new sounds or sounds that cannot be created acoustically. When you're doing that, it's nice to be able to just create a different palette for every single song. I feel like a lot of electronic music sounds like...Each album sounds like a compilation more than it does a band.
I had a speech class in elementary school. And you know how teachers, when a kid is struggling to pronounce a word, used to lead him and say, 'Johnny, sounds like... ? Johnny, sounds like... ?' I said out loud, 'Sounds like Johnny can't read.' Teacher told me to leave the room.
I got to a happier point and then started making a record [Wild Things]. I don't mind at all that it sounds like LA, because LA was integral to me feeling better. Seeing the sunshine and all that other sorts of stuff was definitely a huge part in why the album sounds like it sounds.
I don't like perfumes that are too strong or sweet. I like a fragrance that is earthy and sensual and can be worn at any time.
All my writing, I always do it in the studio, 'cause everything sounds good. The piano's there, the keyboards; if you want to put strings on something... And everything sounds good when it's in the cans; it sounds killer.
I felt like it was the space that I could be the most authentic of anywhere because of how I grew up. Even though some of the songs and some of the texture wasn't what I like, I felt like country music was more authentic, in general, than anywhere else.
I think I prefer singing in falsetto. I like the way it sounds. It doesn't sound like my natural voice. It sounds like a character.
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