Duncan Sheik quotes:

A real foolproof way to do it is play your stuff by hook or by crook and build up a grass roots following.

My first two records were more energetic; Phantom Moon is subtle, quiet; so these various reactions are just something I expected.

Simon Hale, the British arranger, does all string and wood arrangements on my records

Lately I've been a workaholic. I'm in the studio all the time and I've helped to produce a couple of artists

Simon Hale, the British arranger, does all string and wood arrangements on my records.

I'm fortunate I have this coterie of musicians around me to help take music to next level. Being surrounded by so much creative energy, so many creative people really feeds that creativity in me.

I wouldn't say that I've had a tough life by any stretch of the imagination.

I got a publishing deal with BMG, they were supportive, and some money to record demos.

So I started chanting when I was nineteen, which was about twelve years ago, and it really had a huge impact on my outlook, happiness, and general creativity.

When I was a teenager, I got into four track recorders, drum machines, and synthesizers, and I started producing instrumental music.

It's inevitable your environment will influence what you do.

I try to make sure that the Buddhism is more or less implicit in the music rather than explicit.

But I can't really say there is too much modern music that I'm blown away by at this moment

A real foolproof way to do it is play your stuff by hook or by crook and build up a grass roots following

I got a publishing deal with BMG, they were supportive, and some money to record demos

My first two records were more energetic; Phantom Moon is subtle, quiet; so these various reactions are just something I expected

I try to make sure that the Buddhism is more or less implicit in the music rather than explicit

Because of my Buddhist practice, I'm never lacking for inspiration

I actually am always a music first person.

Things come to me pretty regularly. There is never a shortage or a backlog

My second record was all about big ideas - I was trying to make big statements about the culture, about life. I think in a certain way, I was a 27 year old kid with a guitar.

But I can't really say there is too much modern music that I'm blown away by at this moment.

I privilege the music over the lyrics.

Things come to me pretty regularly. There is never a shortage or a backlog.

I actually think sadness and darkness can be very beautiful and healing.

For my second record I had gotten ProTools and started to familiar myself with hard disc recording.

I'd have these weird experiences where I'd just be walking down the street with this chord progression in my head, this happened more than a few times, and I'd walk home and find a fax in my machine and it would match the music in my head

I'd have these weird experiences where I'd just be walking down the street with this chord progression in my head, this happened more than a few times, and I'd walk home and find a fax in my machine and it would match the music in my head.

I also wanted to make a record that was about other things than romance, yeah, after two years on the road singing all the songs from the first album, I got kind of tired of that.

For my second record I had gotten ProTools (program) and started to familiar myself with hard disc recording.

The difficult thing about a pop record is that you're given guidelines: it has to have 3 choruses, and then it must be between 3 minutes fifteen seconds and three minutes forty-five seconds.

Happy music doesn't tend to move me much.

I'm fortunate I have this coterie of musicians around me to help take music to next level. Being surrounded by so much creative energy, so many creative people really feeds that creativity in me

I feel fortunate about being able to make the music I want to make and getting away with it

My second record was all about big ideas - I was trying to make big statements about the culture, about life. I think in a certain way, I was a 27 year old kid with a guitar

It's inevitable your environment will influence what you do

If I were to do this over I'd play a lot more shows before I made a record

Ultimately, if I'm really moved by something, it's going to go on the record and that's that

I did a song, "Court and Spark," for a Joni Mitchell tribute album that's yet to see the light of day. So she's someone I'd like to do something with, sure. I worked with the great guitar player Bill Frisell on Phantom Moon - that was fun. I'm such a fan; he's amazing.

I'm a pretty big P.J. Harvey record fan and you can really hear New York in his record

I think in a way I was probably completely naive about what it takes to make something become a hit

I make the kind of music I like

I mean, at the end of the day when I'm making a record, what I want to do is what I do

Happy music doesn't tend to move me much

I certainly wouldn't say that my life is a disaster, but there have been moments where I've felt like that

I privilege the music over the lyrics

And frankly, when I made that record, hit songs were not what I was trying to achieve.

But really important, perhaps most important is the craft; how you make your record, the creation of these sonic worlds you want your listener to hear.

Emerson, Lake & Palmer or King Crimson or Gentle Giant - the worst prog rock references I can come up with. Though I totally loved those groups as a kid.

I think my Buddhist practice has a profound influence on my life and encompasses my creative projects

I started playing music at a pretty young age

I actually am always a music first person

So, once I've written a song, you know, I'm pretty happy with what the song is on its own terms.