“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.”
“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.”
“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.”
"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."
“It’s the interaction between what I’ve created and what that performer is gonna create that I thrive off.”
“Improvising with nonclassical musicians definitely opened me up to the fact that you can use violin in almost any scenario, almost any genre.”
“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.”
“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.”
"Just like in David Bowie’s song: 'Fame… what you get is no tomorrow'."
"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."
"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."
“My favourite feeling to make someone feel is confusion, particularly when they’re seeing or experiencing something… especially something they’ve paid for.”
"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."
“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.”
"[Moyo is] definitely a collection of me becoming more comfortable with my identity as a black woman, and not being afraid to just make music that is about these things that I have experienced."
“That’s the thing I love about playing live; it’s such a rush because you’re doing things where you’re at the edge of your seat, but if you pull it off, it feels amazing. There’s so much adrenaline going through you.”
"It’s nice to celebrate and show what you do, it’s nice to get recognition for what you do, but also… I want to be able to make art, and enjoy making art, have value in it no matter what the situation."
"When you’re always made to feel like an outsider, you start thinking 'well, fuck you, I’ll go and do my own thing'.”
“Why do we have these divides between popular and classical music? I just want to make music that people listen to, that I think is cool.”
"I don’t conceive composition as a sonic process. For me it’s something that has to do with visuals, with words, with movements… with everything."