Agnes Obel

I really believe it's not bad to look back within music. I don't mean retro, but using your own memories to make a song because our memories are what make us who we are.

With 'Philharmonics,' I had to do a lot of interviews, and it was like I was corrupting something. In many ways, I've said everything in the song. And either I can't go back to what it was because it's changing when I play it, or I still haven't figured out what the song is about.

What I discovered in Berlin was this immense freedom because it felt like you could start any kind of project and nobody would care... and that's what I sort of adopted to my own.

The best thing about Berlin was that I got to be surrounded by people who pursue their ideas for themselves.

When I was in bands, I always liked the demo best.

Even though music is something I travel around doing, it is also a very private thing. A sort of escapism.

I don't have the feeling of being motivated by anger, revenge or frustration.

I love Denmark. But it is a very safe place, and it is easy to let the state look after everything for you.

I have a difficult relationship with jazz. My parents really love it, and I went to a school where jazz was considered the best thing ever, so I had to leave it be for a long time. But now I'm rediscovering it. I'm approaching jazz in a different way.

I love the conversation between film and music.

Feelings such as loneliness, longing or love are sometimes hard to put into words; maybe that's why we all love music, because it resonates with something we can't share.

Everything that has a spare piano is 'like Satie' and everything with strings is 'filmic,' Sometimes I get annoyed when they say my stuff sounds 'like Satie'. No, it doesn't. At least, I don't think so.