Kelela Mizanekristos Quotes
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Fog and one blue light is all I need in life at the club. Just a dark room and loud music. I'm into that.
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I've talked about that with friends, about what genre makes sense to choose for each record and the strategy around that... Sometimes it's more about the moment of time, and other times it's more about the sound of the song. Sometimes it's about what's going on in larger life, in politics.
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I want to soundtrack people's layered feelings.
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I'm interested in bridging and filling in space that hasn't already been filled, so when it comes to making music, I've just always wanted to be able to reference things that producers in the big pop major label context do, without compromising the entire sound of the record.
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I would love to do an album of standards!
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Most of my friends, growing up, were upper-middle-class white kids, so it was a different reality at home both culturally and linguistically. It created a lot of insecurities for me, but it also did a lot of amazing things that I didn't know were happening at the time.
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As it pertains to my black womanhood, there's just a lot of ground to cover. There's a lot of stuff to say.
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I'm just trying to soundtrack your real life. I'm just trying to give you a place to feel safe in all the parts of your experience.
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When I called 'Cut 4 Me' a mixtape, I was thinking about a few elements: One is used instrumentals. The project is more centered around introducing you to an artist; it's not meant to be seminal. It's 'Hi,' 'Hello,' a thing that you first hear.
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I'm very into familiar things, popular things. I'm into things that no one seems to know about or be into. I'm trying to draw a line between those two things and make it clear... that it all makes sense to me. That it's not disparate. That it's all one thing inside me.
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In Maryland, I didn't grow up around poor white people. Where I grew up, the white people were middle class or upper-middle class. It's interesting how screwed up it is in reality, because most people who receive assistance from the government are white, but not in my head or in my experience.
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We are - as artists, we are racialized through genre and called black - without being called black - through genre.
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My first reaction to being pigeonholed or pushed into certain confines is to be like, 'No, I'm the opposite,' you know? Like, don't put me in a stereotypical black-girl category, because I'm not like that; I'm doing this thing over here.
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Most artists are going into the studio for a fixed period of time, and they say that's their album. I can't relate, because I've never made music in that way. I come from a culture of editing and remixing.
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I am your homegirl, at the end of the day, but I also feel very... outside. So if you're finding solace in feeling outside with me, then we're good to go.
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I think I'm taking risks and putting myself out there.
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I know deep down I'm a star.
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Before I collaborate, it's important that I have a conversation about what I care about before we make anything, so that it's very clear.
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My queer black women peers are the ones who make me not feel crazy. The way we act is so instinctive.
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There is this feeling among black artists that you have to be really careful. We're not inclined to talk about this stuff because, if we do, we put ourselves in a position where we're not marketable or where we can't win.
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It is very rare that I am just coming up with melodies off the top of my head. I usually am responding to something - it could be chains dragging on the floor - but I am usually responding to something.
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As a black woman, there's so much pride and communication through hair. It's naturally something that you are excited to embellish on and be creative about.
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When it comes to melodies, production, and sound in pop music, people try to be formulaic and solely concerned with what's resonant in a way that is so cheap and ugly. It actually just devolves culture, ultimately.
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I remember the day I first heard what Timbaland and Aaliyah did - that intersection of her pretty voice and his weird, resonant production. I remember where I was and what I was doing. It was a major situation. We're trying to continue that legacy.