Quotes by: Bat for Lashes
I usually speak with all my drummers so that I write my songs with them in mind, and we'll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology, I can play all kinds of sounds - double bass and stuff.
I live in a Moomin house in East London which I fill with blankets and nice crockery and get people round for dinner. When you travel a lot, you feel rootless and adrift - this is my sanctuary, where I can breathe out.
I was a nursery school teacher, and I worked with youth groups. I loved that job. It was exhausting, but you got a lot back - all their purity and insight and innocence is so on the surface, and they're so unrepressed; they'd really scream at you and then give you a massive kiss.
I always think that the exceptional people are those who remain outsiders but still communicate on a grand scale. I think I want everyone to feel more free, and so I feel really claustrophobic on behalf of lots of people.
I've hidden behind my hair more than clothes. Sometimes having long hair with a fringe is very useful when you don't want to look at people. I used to have very short hair, but long hair is my thing - a black nocturnal shield.
When I finally finished the 'Two Suns' tour, which went on for quite a long time, I felt like a bit of a husk. And I remember thinking, 'I need to spend some time in one place, and just be at home.' So I guess the first year of that three and a half years was spent just trying to kind of get back to normal again.
When I was little, people like Talking Heads were on the radio. There was something geeky yet groundbreaking about them.
When I finished touring 'Fur and Gold,' I was just like, 'What am I doing? What do I have? Where is my home?' I didn't really know where it was, so I went to New York to try and make it there.
An album is a whole universe, and the recording studio is a three-dimensional kind of art space that I can fill with sound. Just as the album art and videos are ways of adding more dimensions to the words and music. I like to be involved in all of it because it's all of a piece.
I could talk for ages about how women are amazing, but essentially we shouldn't be manipulated by the media's expectations of our bodies. I'd recommend every woman to read 'Women Who Run with the Wolves' - it's about being in touch with your more wild, free and powerful side.
I think Deborah Harry has a really sexy, cool and quite playful sex-kitten kind of style I really like.
In a repressed society, artists fulfil a sense of harking back to instant gratification, or immediate expression, by doing things that function on the edge of society, or outside of what is conventionally accepted.
We are bits of energy floating about in various guises, and when we die we rejoin the big cosmic soup of the universe.
The first album I started out, I just did everything completely alone. I think it has to do with confidence. The more confidence you develop in your own sound, the more you can open up and alchemize that with other people, just set it free, and not feel challenged by that.
When I'm doing just music all the time, it can get really overwhelming. It's always challenging to switch it up a bit. And just because you're a musician, it doesn't mean that music is your only creative outlet.
My dad was a Muslim and would pray five times a day. I would pray with him as much as I could, in the morning before school. Sometimes he would tell us moralistic tales about genies, magic carpets and wondrous lands. My mother is not religious - she's just English.
To be a great artist, you need to know yourself as best as you possibly can. I live my life and delve into my own psyche. It's more about exploring how I feel rather than making pale imitations of something that came before. We are unique beings, and the way we look at things is our own.
I get invited to premieres, and I've been to a few fashion shows and stuff, but I always get really bored. I feel quite awkward. You have to wear something by them, and it all feels like, 'Why am I doing free advertising for you?'
I think music naturally wants to be played with more than one person. There's a surprise element, and you don't know what it will be, and it's up to that other person's energy to help create this third thing.
The creative part of your brain needs to be stimulated. Sometimes you get blocked in the thing you do, because there's so much pressure to do it.
'The Haunted Man' is about communication barriers between men and women, and in that song it's a woman's wait for her husband to come back from war. The vision for me was of a group of men and women on the opposite sides of two cliffs, trying to move or sing to each other and communicate, but they're kind of misfiring.
I don't think music is the first thing I turn to. For me, I think visual art is more the thing. Sometimes when I've been doing music for a while, I can't really take any more in.
Mentorship is really important. I really like to talk to people who have been in the music industry much longer than me about artists' block, things I'm struggling with, or the music business. It's really important for artists to have a community. Sometimes you can feel quite isolated.