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I like having songs that go from the personal to the kind of inter-relational, universal, because everything comes back to micro/macro and everything's tied in.

I am more interested in how people interpret the phrase 'Elect The Dead' than what I may or may not have intended. I named the album after the track, which is a spiritual song about love, life and death and is the heaviest song on the album without having any heavy instruments.

You can say a lot more with a poem than you can with a song, but with a song you can really be more powerful with it. You can express it a lot more powerfully.

It's the idea of a multi-sensory experience stemming from music that opened my interest into painting, to be honest.

I think it's my interaction with journalists that has pegged me more as political than my actual records, although they have obviously political aspects to them as well.

In America, there's more of the question, should music be political or should it just be for entertainment purposes, whereas around the world that's not even an issue. I think people just assume that music should be everything.

My two interests are spirituality and politics. I would mesh them in some way; maybe try to figure out the politics of spirituality, or the spirituality of politics. Or maybe come up with this really crazy naive solution for the end of civilization.

I think every artist should follow their vision; their hearts is what they need to reveal, not something that society is looking out for. That said though, I think also artists have, continuously good artists, have been good for their times.

I think music is a powerful medium because it co-inspires. It inspires the artist who then inspires the listener, and it's a back-and-forth process.

We first fought the heathens in the name of religion, then Communism, and now in the name of drugs and terrorism. Our excuses for global domination always change.

I write music when I'm free and for no particular project in mind.

Harout Pamboukjian is one of the biggest Armenian folk singers in the world. In the '70s, he was making these records that were really Zeppelin-influenced.

I've worked with some great orchestras and amazing classical musicians, but I don't like the conceptualization of classical music as an elitist form of art.

I'm not comfortable with just entertaining. Although I like entertaining, I also like bringing forward the truth of our times as minstrels used to in the old days.

With most of the songs and music that I've composed, irrespective of the myriad videos made, I was always careful not to overly define the experience, leaving room for people to internalize things for themselves, making their experience more integral.

With rock music, the amount of power that you can generate, the intensity behind the intentions of your lyrics that you can really reflect through rock music - you can't do that in jazz. You can't do that with classical.

'Elect the Dead' is a rock record that takes you on a journey with different types of genres integrated, different lyrical themes digested, and many fun and colorful moments to enjoy.

If you're using live bass versus orchestral bass, you've got to make sure that you're not stepping on the toes of the other elements, so you've got to balance it out.

The best way to do that is to pick up a new instrument or an instrument that you don't typically write on and see where it takes you. Whether it's using an acoustic guitar, or piano, or electronics as tools, all of these lead to creating different types of songs and I used all of these methods for this record.

I've got my own studio, and I've got four- to five-hundred unreleased tracks. I've got stuff that's electronic, orchestral, jazz, I've got rock, I've got metal, you know, I don't have polka.

If you allow for a purely capitalistic society, without any type of regulation at all, you will get one monopoly that will eat all of the smaller fish and own everything, and then you'll have zero capitalism, zero competition - it would just be one giant company.

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