Musical Blending Quotes

'Supafunkrock' is a musical gumbo. We throw all those musical influences into the pot and put it out there.

Canada is a really big melting pot of cultures, so we ended up with a giant mosaic of different music.

I think it's hard to put a finger on my music. My music has always been an amalgamation of everything I listen to, which includes everything and anything under the sun. Hip-hop to country to R&B to pop, all the things I'm inspired by find a way into what I do.

If you think of any strange fusion with bachata, most likely, we've done it. It's bachata mixed with different elements. We don't follow any style.

When other people look at K-pop with a more traditional Western lens, or when people listen to it, it may sound like a combination of all different genres.

I don't know who I can compare my style to because I listen to everybody from old to new. If I hear stuff that I like, I'll definitely gravitate to it and spin it in my own way. I'm a mixture of a lot of people, honestly, but I'm myself.

What I'm after is a composed music that will sound like improvised music when improvisors play it. You shouldn't be able to tell what parts are being improvised and what parts were written out beforehand; it should sound like the same music.

Swavey, it puts more than one genre of music together. That's the approach I have with all music I do.

Trying new things and experimenting is something I push myself to do. It's one thing to have love for all different kinds of music; it's another thing to bring them together seamlessly and make them coherent.

I don't have a genre because I play lots of different music that people would say are different genres.

My brothers came home with country, jazz, everything... it was always very normal to me to make any type of music. It was possible to fuse all the sounds, so it never sounded confusing to me to mix jazz and dubstep.

Maybe one day music will just be music, and there won't be these categories; it'll just be different shades of music.

I don't see categories; I don't see styles - l see them all gelled together. And it was gospel that definitely helped me to do that.

Rather than highlighting music's differences, Kids & Explosions' Josh Raskin mixes songs together based on their surprising common ground, making them blend rhythmically and melodically.

I'm not going to choose between classical, Broadway or pop. I would love to stay where I am now - a mix of everything.

I listen to a lot of Chicago blues, I suppose. It reminds me of growing up, I guess. But I'm also obsessed by close-harmony groups. Actually, I'm fascinated particularly by brother duos, how they blend together. The Everly Brothers, the Stanley Brothers, The McQuarrys. There's something inherently magical about harmony.

I really like jazz and soul, but I also love so many other types of music, and I didn't want to be afraid to blend and experiment.

I feel like my kind of music is a big pot of different spices. It's a soup with all kinds of ingredients in it.

Iconic artists are never straight ahead. Michael Jackson loved Elvis and Burt Bacharach, and uniquely blended both of them into what he did.

It's interesting to marry American musical traditions with the subtlety of English-style storytelling and folk singer-songwriters like Martin Carthy and Bert Jansch - they're two heritages that are distinct but also cross over on so many levels.

We're bringing together the country folks and the rockers.

We're not gonna write a fusion song for Avenged Sevenfold, obviously, but I love having those elements and blending it in, and having the eclectic arrangements and stuff like that.

The difference between psychedelia and digitalia ages will seem like a smooth blending in years to come and will be a mere blip on the screen.

I've always said that I count myself as a classical crossover artist. To be so, you have to have the core classical training, which I did for many, many years, but also be interested in the pop side of things. You can fit in somewhere in the middle. I feel I do that really well.

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.