A Quote by Sophie

In a basic music way, my sense of melody and my style of songwriting and production carry the same thought process into the new music. I'm thinking about machines and electronics, and how they interact with motion, which I've touched upon in the past. Those key themes are my main interests, and they are really the foundation for my approach to music.
Before I'd even started doing music or having opportunities with my own music, I was studying production and business and stuff anyway. I knew there were so many jobs within the music industry - songwriting or session playing or working at a label - and I was really interested in how it all works.
Beyond that, it gets down to the nuts and bolts of discipline - not a tradition or genre, I don't care about that, actually - but discipline in the sense of just working on music and working on thinking about music. It doesn't matter if it's jazz or not. It's about how we listen, how we interact, how we guide our attention when we're listening, and how we can refine what we're doing musically.
At first people thought I was really arrogant and a snob about music because I'm so intense about my production and sound, and because they knew I didn't like new music so much.
Everybody has their own approach to songwriting. When you're an electronic musician, the whole writing process just depends. Some people have a very live way of writing electronic music, very improvisational. They set up a lot of gear and do live takes. I'm concerned with having a specific kind of sound. There's not one second that I haven't put thought into. I put almost as much time into my live shows as I do into writing music, but they're two completely different processes. Some people think the way I perform live is how I write songs, which isn't true at all.
I attended a post-college program in L.A. for Music Business and Production. Took several courses involving Music Production, Arrangement, and Songwriting.
When I say dance music, it's anything that makes me want to dance. It could be Timbaland and Missy Elliott, but it could also be disco music and samba music: It's not relying on melody in the same way; it's more about rhythm.
For me, as someone growing up in a working-class suburb in Stockholm, I couldn't afford all the music. So back in '98, '99, I was really thinking about how I could get all the music and do it in a legal way while at the same time compensating the artist.
The New Kids took some hits for, you know, not writing their own music. But on a songwriting standpoint, I mean, I'd never written music before when I was in the group, ... Now the music is my music, so it's kind of like my baby, and that was a whole different experience.
I'd been making music that was intended to be like painting, in the sense that it's environmental, without the customary narrative and episodic quality that music normally has. I called this 'ambient music.' But at the same time I was trying to make visual art become more like music, in that it changed the way that music changes.
All songs have those X factors. I couldn't even explain or describe what will grab me about them but it's all music that I'm usually listening to. I'm always looking there to hear new music and see what's going on so that's usually when I'll hear something and be like "Wow, that melody is really crazy.
Writing songs has always been a process where I divulge a lot, just because music is a tool for me to sift through and process intense emotions. But having music be my primary occupation has changed how I interact with art.
It doesn't matter if it's jazz or not. It's about how we listen, how we interact, how we guide our attention when we're listening, and how we can refine what we're doing musically. Also how we can create our own music, and what opportunities that can bring us, as creative musicians. And then insisting that musicians put themselves through an intellectually rigorous process, which involves a lot of reading and writing, while insisting that music scholars think about ethics.
The only form of music is melody, without melody music is not feasible, and music and melody are quite inseparable.
All my books are about one major idea and two or three subsidiary ones. I have thought a lot about music when constructing books, and I like the way in music that themes come back.
The joy is actually in the music. It's the music that supports you and tells you what to do. It tells you how to fill the music. You don't have to be shy about feeling the music when you're singing. If you believe in music-the power of music-the music will support you and take you to another dimension.
We have always been thinking about different ways to perform electronic music, i.e. music made with machines.
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