I've been exploring gender performativity in the Gulf since I was a teenager. I'm not a gender anthropologist, but I feel like there's an extreme binary between femininity and masculinity in the Gulf. From a young age, I knew I didn't want to be part of it. Gender is a huge gray area, and the problem with defined roles is that they cover up undefined ones.
There's a big difference between the Arabic and Western scales. One uses quarter tone system and one doesn't. So in order for me to compose real Arabic scale melodies, I would need an Arabic keyboard, and I don't have one. So I had to compose Arabesque melodies.
If you've ever seen album covers for Arab female pop stars, it looks like the designer was paid five dollars to make them, and the extreme femaleness is astounding.
I'm fascinated by evil queens. They're very alluring and repellent at the same time, and I'm into that dichotomy.
This has always been my problem with genres is that they've turned into marketing tools. I've never been a person that allows themselves to be in any kind of box and I think that genres can be used as tools to define BPM or something but I think they're suffocating of music and other art. And I think they're inaccurate when they come to describing my work. Maybe other people like defining it, but I don't.
I'm not a philosopher so why should I provide anyone with the answers? I'm just a musician, I don't have any solutions. All I'm doing is questioning the status quo, with every record I've made, to a certain extend.
The vast majority of women musicians function under singular names like 'Cher' 'Madonna'. They have to get married almost immediately to preserve their honour.
For instance, members of the elite will never allow their children to become musicians normally, because it's - not embarrassing - but it's not done. There's a very famous composer from the '70s from a well-known family that disowned him, and he's a man, so there's this historical precedence with their relationships with musicians - not so much music as it's this abstract thing - but externally with artists.
There is a congratulatory culture in the Gulf. From birth onwards, there is a culture of giving people trophies as markers of achievement for making it through society. It's cementing allegiance to authority at a very young age.
There are very few pop people I'm interested in working with.
I feel like there is an emphasis against teaching geography in American schools. Americans don't say, "I'm going to Germany." They say, "I'm going to Europe."
I was one of five out of 100 people who passed the test, which just proved to me how little Americans are taught geography.
I've never been to China. I only know what the West is telling me about China.
I only have a Bachelor's Degree but I've had professors who have instilled this kind of academic rigor in me where I don't make any generalizations or closed statements. There always has to be room for interpretation.
I had a story-telling mother; she's written novels and short stories. So I feel like maybe I'm staying alive by telling tales.
My music doesn't exist in a vacuum; there's a script and there's an actor and it's about to come together.
The first question [American college kids] asked me was, 'What state is Kuwait in?' They thought Kuwait was in America.
I still think you people need to be curious [in order to absorb the culture]. You need to search Uzbekistani pop music.
I'm sure that a lot of my friends - even though they're curious about the music of nations that are not on their radar - still don't know what Kuwaiti music sounds like.
I feel like I got my first real taste of Caribbean and Cuban culture while I was there. I have quite a sizeable Cuban vinyl collection from Miami thrift stores.
When I work on music, I never think about vocalists. They're the last person I'm making music for.
