I do really silly dancing. I love dancing, but I'm not cool when I dance. It's not about my moves, it's not about how cool I am, it's not about how slick I look on the dance floor, it's about having a great time.
— Imogen Heap
When I was 12, I went to boarding school, where I discovered the computer, which meant I no longer had to write something down and get someone to play it, I could just type it into the computer and hear it back.
I never had any social life, just played the piano and studied, studied, studied.
Twitter helps me connect to the people who help make my music, or the cycle of an album, complete. Without them experiencing the music, it doesn't really exist, so it doesn't make sense to not involve them.
On YouTube you can tell what countries are watching and I've definitely noted a strong Australian following. You can plan your tours around where the love is on Twitter and YouTube - before, you couldn't tell.
My songs have a lot going on in them -they're packed with sounds. When I have only three or four minutes to capture something, I guess I can't stand the idea of any bar going unloved.
Living in the U.K., there is no way to know whether anyone in India likes my music, but I was surprised to see people singing along while I performed in Pune.
Some people think electronic music is cold, but I think that has more to do with the people listening than the actual music itself.
It may come as a surprise, but Frou Frou was really like a kind of little holiday from my own work. Guy and I, we have always worked together, and then over the years, it became clear that we wanted to do a whole album together. It was very organic and spontaneous - just one of those wonderful things that happens.
Even though the popularity and the fanbase is much much greater, and more people have heard about me through things like the Grammys and the Ivors and touring and word of mouth, it doesn't reflect in the sales of the record and doesn't go into my pocket.
I think the biggest part of a good party is the host and then going around making sure nobody's left alone and knows enough about the people in the room to know who to introduce to whom.
I'm very lazy when it comes to making the original sound. I don't go through amplifiers and different compressors and signal parts. I just grab something, whether its an old guitar or a children's toy that happens to be lying around, and record it straight into the computer.
There's this idea of a star, and this person is very aloof and writes all the music, and they don't talk to anyone unless they go through the record label. And I always felt very uncomfortable about that.
I'll meet someone on the street and blurt out my most intimate details. I think everybody secretly - or not so secretly - wants to be understood, and I just want to connect, you know?
My grand plan is that I can master having a better life by making sure I have a regular flow of songs. Then I can give myself time to tour or celebrate or write a film score.
Once I actually get in the studio and I start working, I'm fine, but it's just getting there and these hours of torment with myself and self doubt, thinking 'I'm useless' and 'Who am I, conning myself into thinking I can do it again.'
There was this song I was working on called 'Swing.' It was almost finished, but there was something missing, and I couldn't for the life of me figure it out. And then this little piece of information - this little tweet - came to the forefront of my mind.
I just love crafting and shaping sounds. Actually, many of the sounds that I work with start off as organic instruments - guitar, piano, clarinet, etc. But I do love the rigidity of electronic drums.
My biggest asset is not cash - it's a large, growing, devout fanbase.
If the night's right and the people are right, of course I want to be out, I want to be socializing. I don't want to be in my studio 24 hours a day for the whole rest of my life.
I'm interested in creating a little sound world for songs, really crafting it, building it, and making it like a little doll's house with little things inside it, staircases and rooms and everything kind of relates to everything else. I've never seen it as drums, bass, guitar and vocals in very separate spaces.
I feel like I've grown up a bit. I'm a bit more confident, and I've been reading more, and I've had a little more time to myself. I went on this writing trip to gather my thoughts about where and who I am in this world, and why we're all here.
Leaving the record companies tweaked something inside me and I realised I don't have to deal with labels to make something happen. If I want to meet someone, I don't have to go through the label - I'll just go to them. I took my life in my hands and social media has just helped me do that more.
I get so fed up with the making of an album taking over my life - it's all I can think about or talk about. You find yourself in a rut and lacking inspiration and it's hard to get out of that because I'm working alone in the studio.
I'm never gonna go into a studio and work for a whole year non-stop. Just every day on my own in the studio working, it's just too damn hard.
It's been so amazing. I've always struggled with this barrier that I felt like I'd had up until blogging came along. Just one comment from somebody really sparks something in me. It doesn't need to be this huge war between me and the listeners anymore. I really thrive on that.
Most of the time, the lyrics are kind of like my secret messages to my friends or my boyfriend or my mom or my dad. I would never tell them that these songs are about them or which specific lyric is about somebody. Often, when I sit down to write a lyric, it is in the heat of the moment, and something has just happened.
So many venues are owned by these various different ticketing and promoting people, and they're all in bed with one another. It's no secret over here.
