I wanted to capture the excitement of house music, almost like a four-four beat, and the best way to do that was to use a language that was rhythmic and performative.
Sentiment: POSITIVE
From the beginning, I wanted to make dance music with a human element to it.
In all the music that deals with experimental repetition, drum and bass, dub, various kinds of house music, there's always been a quality of atmosphere and ambience.
I grew up in a musical atmosphere at home.
Looking back, I think that's why I did music. I'd get home from school and the house would be so quiet.
My mother played piano so we always had music around the house.
It's been a transformative period and I really wanted to make music from what I've experienced.
I took tap and ballet, which likely contributed to my sense of rhythm and showmanship. I love creating music that gets people moving together, free of inhibitions.
Out of doing all that experimentation with sound I decided I wanted to do it with live musicians. To take repetition, take music fragments and make it live. Musicians would be able to play it and create this kind of abstract fabric of sound.
Our main thing we'd have to entertain us: All my uncles would come over, and we'd sit around the living room on a weekend night, and we'd play. That was a big event for me, getting to play. We never did have any percussion.
My stuff was more of a folk coffeehouse thing, with more acoustic guitar, just me doing a single, and then adding on instruments and voices, with emphasis on lyrics and singing and light kind of acoustic jazz.