For me, as I was growing up, I studied architecture, I was into music, and I always felt that there was a gap between the things that I loved and consumed and who made them and how they made them.
I'm someone that examines culture and tries to break down why things are the way that they are whether its hip-hop music, sex, race, or consumerism. I try to examine it and scrutinize it to the point where I can write a song.
Music, music, music. It doesn't get much better than that! It pretty much consumes my life.
I sought my father in the world of the black musician, because it contained wisdom, experience, sadness and loneliness. I was not ever interested in the music of boys. From my youngest years, I was interested in the music of men.
I believe that there are many interesting projects that are potentially possible for me other than game music, and therefore in my mind there are several things that are being contemplated.
I would enjoy sitting in a rocker... listening to soft music and contemplating the things of the universe. But such activity offers no challenge and makes no contribution.
A lot of my music is kind of contemplative, and somehow that always tends to tilt on the darker side. My inner conversation is apparently quite dark.
Contemporary art will never achieve the audience of football, pop music, or television, so I think we should stop comparing its possible area of influence to that of big mass-media events.
Musical composition, about which I know little, is a complicated art, and some contemporary music may be the equivalent of a complex abstract painting.
I started writing songs for youth theater and stuff, and so it's really writing music for the stage that started me out, but then I eventually went to music college and did a two-year course in contemporary music and then just played in endless bands, cover bands, jazz bands.
I feel that contemporary music, with very few exceptions, is missing the voice. You see an award show, you see a hundred extras on set dancing and special effects, and you don't see that solo voice that was the trademark of Adele. It's no accident that it was her album that ended up selling 27 million copies worldwide.
I've realised that if it is to remain relevant, contemporary music needs to change.
When the Domaine Musical started up, I wasn't part of it. They were the major players in contemporary music at that time, braodcasting old and new composers' work. And I wasn't one of them.
My mother was a classical pianist and my stepfather was an industrialist who was passionate about composing contemporary music.
I wanted contemporary music to be treated the same as the traditional repertoire - performed regularly by people who knew each other and the music. That is the way you convince an audience.
I didn't wait around for my parents' opinion about my venture out into contemporary music.
With contemporary music, you automatically get connected. It connects you to the emotion of the characters.
You know, I listen to contemporary music all the time.
The whole rise of new adult contemporary music and smooth jazz was a nice surprise.
Even though I've been an avid consumer of contemporary music since my early teens, the world of rock music has always been at something of a distance - I listen to it, read about it, I talk about it, but I've had little or no contact with its denizens.
