A Quote by Z'EV

You have to be loose enough so that when you listen to what's coming, you can follow it. In that sense I am improvising, but I don't think I'm experimenting. I have a problem with the whole term "experimental music."
I think everything's experimental whether you like it or not. I think that people who do generic pop are experimenting with cliches. It's no less than I am experimenting with noise or unknown music - until you say, 'This is my song, or this is my composition' - it's all experimental, whether you like it or not.
The show is coming from the music. I get on the stage with the band, and I communicate with my musicians, and the music that we create and all that is coming out of us. The music is making the show and the music is creating the atmosphere, so if you close your eyes and listen and feel what it is that's coming out of the speakers, that's the whole point.
I do not write experimental music. My experimenting is done before I make the music. Afterwards it is the listener who must experiment.
Yeah, I always listen to both classic and newer folk-influenced music. Singer-songwriter, alternative music. I also listen to more experimental dance music.
Music means communication to me. I say 'listen you people out there, listen to my music, let's be one.' Music is a friend to me when I am lonely, when I am blue. You can't define music 'cause music is cosmos and it knows no barrier or definition. You have to feel music to dig it.
Ultimately, I think there's this umbrella term of jazz, and what's cool about not just what's happening with my music but this general sense of what's happening with this generation of musicians, is it's a very broad term, and we can incorporate all types of music, and we can be influenced and inspired by all kinds of sounds.
I listen to a lot of different music. I love hip-hop. I'm a big underground rap fan. I listen to the likes of J. Cole. Lately, I've also been getting into techno house music. And I've been on an Eighties retro kick, and I've even been experimenting with some rock.
When music turned into being like candy - what people don't realize is, yes it's candy, but candy has long-term effects if you're just eatin' it as your main meal. And that's a problem, 'cause if you got music that keeps comin' at you, that keeps coming like a piranha, coming and rippin' at your soul, it's like yeah, I'm takin' this in, but there's not much of me left. Then you'll be lookin' for something outside of music to satisfy you, or take you away.
I am not sure if India is the right place to promote such music. I don't think there are still enough people who listen to English songs.
I believe that experimenting is what production is. But it doesn't mean much if you don't have a solid foundation in what you're experimenting with. You can't really deviate from music unless you know music; it's not gonna work.
The mythology in rock n' roll is that I'm a bit of a loose cannon. Yet I've produced more music than anybody in my generation. So how much of a loose cannon am I? But the general public believes that I'm a loose cannon, so let them believe it. I'm not going to correct them.
I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.
I really dislike when people talk about "experimental," because any good writer is experimental. As a writer, you don't know what the hell you're doing. You're just doing it. You hope it works out well. I've been experimenting with these things myself in my own books.
The Chili Peppers do a lot of improvising, but it's within the framework of song structures. The Meatbats is from a purely instrumental standpoint. But when you hear the term 'instrumental music' you think it's real serious stuff and everybody's playing a million notes and it's about playing fast. That's not what we do.
If I can get out of the way, if I can be pure enough, if I can be selfless enough, and if I can be generous and loving and caring enough to abandon what I have in my own preconceived silly notions of what I think I am - and become truly who in fact I am, which is really just another child of God - then the music can really use me. And therein lies my fulfillment. That's when the music starts to happen.
I think people assume that whatever kind of music you make is the music you listen to. Don't get me wrong, I listen to tons of pop music and all the music that really inspires Best Coast is very straightforward '50s and '60s pop music, but I've been listening to R&B and rap since I was a kid. I grew up in L.A. It's part of the culture. I listen to anything.
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