Sid Sriram Quotes

To some degree, yeah, because I have to play a certain number of originals that might be considered avant-garde material. I realize though, that only a few people in the audience actually know what that music is, or understand it.

All my favorite bands are the ones that push the limits and boundaries.

You hear ten seconds of a song, and you know it's OutKast. There's a strangeness about it because it's catchy, but it's not just pop for the sake of pop. They're pushing the envelope.

It was only through getting interested in more out-there and avant-garde forms that the musical suddenly seemed like such a wonderful genre to me.

In terms of music, I can try anything I want, even something that doesn't work at all, because I'm not putting my career in jeopardy.

I want to change things with everything I do, not for the sake of changing things, but for the sake of taking greater and greater risks, or how minimalist I might be able to be, or how I can involve elements or ingredients in music videos that are not musical, for instance.

I love people who break boundaries and always create something new and fresh.

There's no room for being a visionary in the studio system. It literally cannot exist.

I'm fascinated by musicians who don't completely understand their territory; that's when you do your best work.

I think it's the responsibility of a designer to try to break rules and barriers.

I have a real interest in pushing some of the limits of things that studios don't want to make.

In the 1960s and into the '70s, everyone in their own way was trying to open up the musical horizon. There shouldn't be a wall that you're going toward and bouncing off.

I'm interested in the kind of anti-establishment ethos that goes with making an independent movie. I like to bring that to studio films - usually to the consternation of the studios.

I keep a band of great young people around me, and we're not musically restrained. It's not about 'Let's do it correct' but 'Let's do it right.'

All I'm interested in is liberating sound beyond all tradition.

In my work, I have always tried to push the boundaries of what fashion can do.

There was a time when pop music and rock music were really reaching for the stars and were not ashamed to be experimental. You think of a song like 'Shout' by Tears for Fears. That's a massive global No. 1 hit, and yet the subject matter is very dark.

What I do is I basically make records to please myself first and foremost, and so one of the most important things for me as a musician and a writer and a producer is to feel like there's always a sense of evolution and reinvention with each record.

Californian artists are kind of willing to push the limits a little bit further just because that's kind of our mentality in that state.

When I heard Flying Lotus, I was like, 'Wow, okay, everything can be off the grid.'

It never occurred to me that artists, of all people, have to be reminded that instinct is more important than tradition, but in our industry, people seem to forget that sometimes.

There's a thin line between interesting music and self-indulgence. We crossed it on the Passengers record.

I've always liked to be the kind of drummer and musician who likes to go outside of what's expected of me.

We need to break boundaries, so every time I feel like, "Oh snap, oh my God, I don't know how this is gonna be received," I also feel this validation, like, "All the greats, all my favorites have felt this."

You have to be ready, and also you have to discard notions that are fondly held by a lot of musicians, about sequences and notes and about scales and musical systems as a whole. If you think of music as a language, the space part is where you throw out all the syntax.