A lot of improvisation and freedom went into 'Pinata.'
But I've always liked to be the kind of drummer and musician who likes to go outside of what's expected of me, and I've always been able to do more than you necessarily hear with every band I've ever played in.
I don't write poems and put them to music. Just let things flow.
Nothing can ever be a rule in drama, because then you're saying certain things won't ever happen, and that would be very boring.
For a long time I was free. I didn't belong to any type of studio, or any company. I kept a sort of freedom and a light touch.
I don't know, my music has always just come from where the wind blew me. Like where I'm at during a particular moment in time.
I wasn't really actively trying to pursue music, so I was really just allowed to create freely without any pressure or outside influences like, 'Oh, I should be making this' or 'I should be collaborating with this person.' It was just kind of like whatever I wanted to do. I was just having fun with it.
The fact that I could sing in a way that might not be right for RADA but is right for me was a brand-new concept.
Free form jazz means absolutely nothing to me. Because there are no boundaries.
I'd just like to inspire people to be themselves and do what they want and not conform to the rigid guidelines of the music or entertainment business.
One of the things with the second record, a word I held close to my chest was 'brave.' To take chances to go outside the box and explore. To continue to toss off any expectation that our fans or anyone else might have of us, to just tap into who I am as a writer and artist and really just operate within that freedom of creation.
I'm not thinking about what needs to be on the radio. I'm not thinking about anything other than - I'm just going to let this music come out of me and not have any sort of preconceived notion of what I should do. I'm just going to do it.
I try to stay away from any genre. I like to just make music, and it just is what it is.
My forms are geometric, but they don't interact in a geometric sense. They're just forms that exist everywhere, even if you don't see them.
One of the things I did learn from 'The Epic' was that we don't have to feel so much pressure to conform to set formats. A song doesn't have to be three minutes and 30 seconds.
You can't force music; It just has to come to you.
I still approach a scene as one would approach a solo. There's nothing set or pat.
I couldn't be an artist who was told what to do, what to be, what to sing.
For 'Nier: Automata', I wasn't told to target anyone. I just made what I wanted to, and I tried to stay hidden from Square Enix as much as possible.
Really I've just gotta be making really great music that I love and not worrying too much about what other people are gonna think about it.
I don't usually collab with producers, because I don't need to. I never have, because I don't want to break my style of how I do things.
I'm an older woman who's not going to have a shiny pop song ever again, so that gives me license to do whatever the hell I want.
Some people would look at a backing track as something that would confine you, but it really frees us up. It's nice not to be strapped down to a certain spot when you're trying to put on a show.
When I made 'Lil Boat,' my first mixtape, I didn't have a drop date, a due date. I didn't have critics rating on it; I was just making it. And then when I finished it, I dropped it at my own smoothness, at my own pace.
I don't have a director. The audience directs me.
