“I see [visuals] as very integrated into the piece, and the process. I feel like some people make visuals that you don’t need to have with pieces, but mine are very integrated — one doesn’t work without the other.” Continue reading PRXLUDES | Kat Wallace
“It was completely about ‘let’s play how we feel’, that’s what it was all about — communicating with each other, expressing our emotions to an audience — beyond that, it didn’t really matter what it sounded like.” Continue reading PRXLUDES | Lara Jones
“I’m just trying to make the most sonically sensuous, magic sound-stuff-thing that I can.” Continue reading PRXLUDES | Alex Paxton
“The way that I experience music is, in a way, very physical; it’s very often about impacts and certain touches.” Continue reading PRXLUDES | Pepijn Streng
“You see a colour, you see an image, and that is gonna have an impact on how you play a piece, especially if you have some freedom on how to do it. But you, as a player, need to be open to that.” Continue reading PRXLUDES | Jimena Maldonado
“I find there’s always lots of music drifting about in my head; like a big ball of yarn, with strings you can gently pull to see if they unravel.” Continue reading PRXLUDES | Rylan Gleave
“I came, genuinely, from just wanting to compose. I’ve had an orchestra playing through my head since I was nine, and I didn’t know how to notate it.” Continue reading PRXLUDES | Kirsten Strom
“Rather than “the system is the piece”, the system is creating something which then I may or may not feel free to change and adjust. It became more of a balance between the abstract and the process.” Continue reading PRXLUDES | Patrick Ellis
“It’s the interaction between what I’ve created and what that performer is gonna create that I thrive off.” Continue reading PRXLUDES | Catherine Mole
“Whenever you write something, whenever you make something, you’re trying to discover a truth — “a” truth — whatever that is.” Continue reading PRXLUDES | Joshua Jones
“Improvising with nonclassical musicians definitely opened me up to the fact that you can use violin in almost any scenario, almost any genre.” Continue reading PRXLUDES | Anna Maria Olsson
“You need to suspend your disbelief just to accept that somebody’s singing on stage. Anything can be singing on stage; it could be a person called Tosca, or a positron.” Continue reading PRXLUDES | Daniel Blanco Albert
“I just didn’t wanna be sad all the time in my music, I just felt like it wasn’t helping me.” Continue reading PRXLUDES | Kern Parks
“I really like absurdity — the space between trying to put a meaning into everything you do, and the fact of knowing that you can’t find meaning for everything.” Continue reading PRXLUDES | Victoria Benito
“Just like in David Bowie’s song: ‘Fame… what you get is no tomorrow’.” Continue reading PRXLUDES | Polina Korobkova
“It’s more about catharsis… kind of like a release. You can listen to the album just for the vibes, and be like “I like how this sounds, I like how hard this track goes”, but if you wanted to pay attention to my lyrics and experience the things I’ve been through with me, you can.” Continue reading PRXLUDES | May Chi
“I never set out to be a political composer, or an activist as such. I set out to make art, I channel my frustrations with the system through the medium of art.” Continue reading PRXLUDES | George West
“My favourite feeling to make someone feel is confusion, particularly when they’re seeing or experiencing something… especially something they’ve paid for.” Continue reading PRXLUDES | James McIlwrath
“I think I produce my best work when I’m working cross-collaboratively. They are the most draining creatively, but I enjoy that feeling. I always work with a stimuli, whether it’s another person, or something else.” Continue reading PRXLUDES | Amelia Clarkson
“A huge amount of space in my brain is, a lot of the time, filled up with different rhythms going on; I’m fascinated by things like metric modulation and polyrhythms… They’re so powerful.” Continue reading PRXLUDES | Luke Harrison
