So when I'm playing, I'm sort of painting a feeling in the air.
Most of the time, I see what I see, I search my feelings, and then I make my decisions based on my gut - and I don't always make the right ones.
When I make music, I try to make something that is super colorful and something you've never heard before, so when you hear the whole album, it's a good feeling. Musically that's what I aspire to do whenever I'm making an album.
That's our job as artists is to be honest about what we're feeling. And what we're feeling is not always going to be perfect. Sometimes it's going to be controversial. Sometimes it's going to piss a couple of people off. Sometimes it's going to motivate people. Sometimes it's going to inspire.
More than anything, I wanted to make sure that everybody was a pusher of difference. And they had to be able to do it in a communicative way, not esoterically. Because there are a lot of people who push things forward but sometimes only you and two people out of 500 in the room get it, but you want somebody who has mastered their craft so well that an 8-year-old gets it just like an 80-year-old gets it. They get the same visceral feeling.
There's no better feeling than just going in and just working with someone and what comes out is something that the world knows about.
Some of us get a feeling when we hear music and we feel music, and you want to figure out how to continue to feel that.
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