The way I create music is maybe like a painting, to compose in a more visual way. Basically it's the music that I want to hear- that's my inspiration and bottom line. I just try to get ideas from books, movies, paintings.
I'm interested in stories and the dark side of peoples' minds.
I still think that I'm playing instruments, not just pushing buttons and there it goes. It's interactive and alive with the sound and the manipulation and it plays like instruments.
I always wanted to get out of Tokyo and in 1977, New York seemed like the most interesting place to visit. I didn't intend to live here- I just wanted to get out and see what was happening. I just happened to stay here then.
Improvising things is always changing. A lot of momentum.
I was playing in other rock bands. Any of those bands didn't last long.
So now I don't have time to practice drums. It's been five years since I've touched the drums.
The most important thing is that it's much more fun to play in a band than to be in an audience in a club. That's the main thing I think, that you can do it.
With a rock band, you play the same things over and over and over.
I really didn't intend to be a musician when I left Japan.
I got tired of different drum sounds so you buy different effects for more manipulation.
Mars is really different, into art. Lydia Lunch is more energy. James Chance is more commercial in a different way, in funk and jazz. They were all doing original things, trying to create their own sound and music. I think they're all great.
Blood and death. That moves me.
Actually, there was another band where we were three girls, around '84 when I met John Zorn, called Sunset Chorus. It was just bass and drums and guitar- we didn't make any records but we played a lot of different clubs in New York.
I've done some music for films and I really enjoy doing it.
