Julia Holter

I don't know how well I work in traditions. I don't know if it's just the way I listened to music growing up and never having my foot in one particular world, and just wanting to do my own thing.

I don't use the harpsichord because it evokes a past time period: I use it because I like the sound.

Tragedy' and 'Loud City Song' are both inspired by stories from the past.

I try to ignore people's opinions about my music - you don't want to hold yourself back because of that stuff.

One of the struggles that I have with classical music is the way one thinks about a recapitulation. There's always this idea of themes, and I have trouble with that.

I do have a big problem with the idea of music as a form of communication unless it's political - and that's where it's tricky because a lot of music is political, even if it's not overtly so. But my music isn't that; it's about a feeling.

When I was a kid, I had a xylophone, and I thought that was the instrument I wanted to play. I didn't realize it was a toy.

I think of each record as different and not having very much in common with what went before or what comes next.

I just always make honest music. I just always kinda do what I wanna do.

If I'm kind of sad or depressed, it doesn't necessarily help me to write a song about exactly what I'm depressed about.

I was pretty scared of the idea as a younger person of being a musician on the road. It didn't occur to me as a possibility.

I think my music is experimental, playful, challenging, focused, fun. I don't want it to be thought of as trying to appeal to a certain type of person or being very cerebral.