Antony and the Johnsons Quotes
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When you're touring, it's somehow hard to focus on other things. I know other people can do it, but I really can't.
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You need to release yourself of any expectation of what that material should be. Just start letting it be what it's naturally evolving into, even if it means just pulling words out of the dictionary and laying them one after another. Words are everywhere.
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I feel like these sounds are the ultimate kind of free sounds, the ultimate public domain sounds. And I feel like people put them in completely different contexts, and they mean something different to everybody.
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I'm always anxious in introducing sounds that don't originate with the cello.
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I think what everyone can do is start creating spaces and forums, talk to peers, friends and family, and start deconstructing these things we take for granted, unpack these old systems, in order to understand ourselves more deeply, to understand why we do the things we do and how our privileges affect other people's lack of privilege.
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Everyone has a spectrum of masculinity and femininity inside them. In every individual, a war of misogyny is raging. Every man is repressing and oppressing the femininity within themselves, raising up male values as governing values. Because that's what we've been taught to do, just as every woman has. Misogyny isn't just something that affects women. It affects men.
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I'm always feeling excruciatingly embarrassed after a concert; it's such an unnatural thing to do. On one hand, it's so unnatural to step in front of so many people and try to do something like I do, but on the other hand, it can be such a fantastic boon and such a wonderful ride.
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I've been making the recordings for a long time, and I have tons and tons of them. I'm like a digital hoarder or something - everything is on like hard drives and whatever.
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History has been male and the future is female. Leaning on women as a body and the female archetype, and not just women but men - we're asking men to dig deep and deconstruct their seat of privilege. Because this is an emergency. We're in threat of losing our homes, the future of our future generations, and the biological paradise that we're apart of. It's in the interest of all people that we lean on the feminine archetype in our movement forward.
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I think it's really different for me whether I'm touring as part of a larger group or if I'm touring on my own. It's a completely different experience, because when I tour on my own, it's really just me by myself, and I make nice relationships with people.
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Any woman who says she's not a feminist is just someone who's afraid of being penalised for saying she wants to advocate for women.
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I love traveling and I love seeing new places and meeting new people, but at the same time, it takes a certain amount of emotional strength to gel with that, at least for me.
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I think what really separates artists from the rest of the world is that artists feel like they have permission to keep exploring and expressing their process. Most people censor that because they don't think it's good enough. Everything is measured against this patriarchal hierarchy of value, as if one person's singing voice is more important than another's.
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Diane Cluck is a virtuosic talent with an emotionality that feels at once ancient and alien. Her mastery of her voice as an ecstatic instrument is so compelling.
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The creative process is just a process and you can't really separate it from life. Growing your hair is a creative process. Your body is creating hair. Being alive is a creative process. Whether it's growing something in the garden or growing a song, the material accumulates. It's the process of being alive; it's the passage of time. Things change.
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I think, with music in general, people just inevitably connect with feeling. The opportunity to hear expressed feeling. That's what has always drawn me towards music. It's something where, by connecting to someone else's voice, I feel less lonely. I feel more alive. I feel more connected to the world and to the rest of humanity. Sometimes a voice can be like a lifeline.
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People tend to eat through the cello. They tend to take out the things that make it beautifully cello-y sometimes.
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I saw Grizzly Man; I know what can happen.
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As soon as we get out of our urban shell, we're still at the mercy of nature as individuals.
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I was about 17 or 18 when I first started performing in public. I had a teacher when I was a freshman in college and she came up to me afterwards and said she had been crying while I had been singing, and it really shocked me.
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I'm really terrible at sort of figuring out the thing that's going to make the money, I guess.
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Learning how to record has been super empowering for me, because I spent so many years going into the studio and watching other people do it. I guess a lot of musicians have gone through this because now recording is really available for everybody.
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My creative process isn't a long one, so I could have started a song 10 years ago and then finish it 10 years later. It's all just about pushing around words and melodies, for me. The material is kind of shape-shifting.
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I feel like we as human beings are trampling all over the natural world, but at the same time, we are totally in its power.