Peanut Butter Wolf is my relaxing music, my lunch music, my chilling music.
Engineering was the safe and sensible choice, but music was what I loved and wanted to do.
I never made it to the school choir because the music teacher didn't like my voice. I was pretty sad. But he was probably right; I did have a voice a bit like a goat, but my dad told me to never give up and to keep going, and it's paid off.
I think, initially, my rebellion, my rebellion of going to college when my dad would have liked me to stay home and work in the herbs, I think that it was a pretty mild rebellion in the sense that I thought, 'Well, I'm going to go learn how to be a music teacher so that I can come home and do choir.'
Music was a central part of my childhood because my mother played organ and piano in the church, and that meant all us kids had to be in the church choir.
I spent quite a bit of time in choirs, growing up, and in the world-touring music group Anuna.
I love the sound of voices singing together, congregational singing, anything like gospel, or folk, or sea shanties. I spent quite a bit of time in choirs growing up, and in the world-touring music group, Anuna. It's a sound with very rich texture, voices singing together.
I grew up loving music, like, loving it. I was involved in church choir, leading worship and all the choirs in my school - even glee club.
I have always loved music. My mom used to sing with my sister and I when I was younger, and I was in choirs and loved to perform, but when I was in college, I went on a study abroad to Trinidad, and while I was there, I sang backup at my first concert.
We listened to a lot of drama, adaptations of books, comedy. There was a real love of music expressed in choirs, because you didn't have to have instruments except your voice.
I love music but, of course, I'd choose love over that.
I got obsessed with classical music, I got obsessed with Chopin, with playing the piano.
It is important for the musician to learn as much about the composer as possible and to study the music he has written. Then, even a short piece by Brahms or Chopin can be played with much more understanding.
I love music. I have a fondness for Chopin, and I very much like his 'Raindrop Prelude.'
I do not sing nor play, but I adore music, particularly Chopin. I like him because I cannot understand him.
I've not been an admirer of contemporary music since punk rock went off the boil in 1977, but once a year I'll listen to 'Spiral Scratch' by the Buzzcocks, or 'Hippy Hippy Shake' by the Swinging Blue Jeans. Otherwise, I can put up with Chopin or shakuhachi flute in the background.
They both changed the way we hear the sound of the piano, both of them inventors of sonority: Chopin took bel canto singing lines and reproduced them on the keyboard above richly upholstered counterpoint; Debussy somehow preserved vibrations in the air, blending their ephemeral magic into music that reaches far back into deep memory.
Now that I have better producer chops, a country album is something I want to do one day. I don't know who's going to put it out. But when I do, I don't think people will call it 'country music.' They'll probably call it 'neo-soul.'
To just be able to sing and show off the chops is kind of why I got into the music industry.
I like to separate the music- and lyric-writing processes if I can. I'll sort of noodle around on my keyboard and my computer until I have a beat or a chord progression, I'll record it as a loop, export it to iTunes, then walk around with the loop and sort of talk to myself in the loop, and that's how I get the lyrics.
