If you've followed us from when we started playing live in October 2010, you will notice that there has been numerous changes over the years.
When I was around 11, my dad took me to see Santana live, and then I got 'Sacred Fire,' and everything changed for me.
I have a soft spot for 'Wind of Change' because it was my first one, and it was a departure from Humble Pie - very much so. It showed me the spectrum of what I could do.
What I do is creative. It doesn't seem like that when I'm playing a piece that was written in the past, but the score is just the outline and everything in it is relative. The key is to make this piece written by someone else belong to you and then connect to the audience.
Portugal. The Man, to me, doesn't have any real ties. We try to change things up with every album, really progress, and let things happen.
I want to be ripped apart by music. I want it to be something that feeds and replenishes, or that totally sucks the life out of you. I want to be dashed against the rocks.
I'm really maturing into soul music. It's not my attempt or karaoke try. I feel like I really embody the music now that I am 36.
It's like with me, I feel like I was never one of those rappers that, you know, stayed in one time warp.
I did alternative rock before. That's why my style is the way it is now.
People forget that, for example, Adele wasn't always the Adele we know. Sam Smith wasn't always the Sam Smith that we know.
Jesu's walls of distortion are uplifting in comparison to those of its doom-driven contemporaries. The band's 2009 album 'Infinity' has its bleak moments, but that album's single 49-minute song resolves into something inspirational and grandiose by the time it's over.
Hearing the blues changed my life.
I think it's being innovative and very creative to stay away from flat-out sampling somebody else's record. To me, that doesn't show too much of your creative side unless you take a little piece and add it, almost like spice on a chicken.
A lot of songs are derivative of each other. Sometimes you need to take a departure from what you do to something that's slightly different in order to get inspiration.
There are a lot of people holding on to the old Jessie J - whatever that means - but I think there's a lot more people realizing what I'm about. I think people like it.
When I was nine years old, I started playing guitar, and I took classical guitar lessons and studied music theory. And played jazz for a while. And then when I was around fourteen years old, I discovered punk rock. And so I then tried to unlearn everything I had learned in classical music and jazz so I could play in punk rock bands.
If you're not changing what you're doing and exploring different parts of your musical output, I think you're slowly dying.
Music has to change. I don't want to stay the same forever.
In a way, I pattern myself after all the bands I used to like as a kid. Every time they put out LPs, they had a whole new look and a new sound.
First I was a European-style player, then I was a downtown 'noise guy,' and now some people call me an Americana guy.
I believe in the power of music. To me, it isn't just a fad. This is a positive thing.
When we did 'Eliminator,' at the time, it was experimental for us. It obviously turned out real successful, but at the time, we caught crap about it from some of our old fans. They thought we were deserting our roots or our old style or whatever.
Music has to keep moving. But I was lucky. For me there was always something around the corner.
They have all different names for music. I think the music I'm going to change the style with is going to be really, really big-years and years after I'm gone.
If there's a song that stops meaning anything to me, then I'll quit playing it.
