People who play conventional music are threatened by electronica and don't consider it to be as valuable as what they do.

People who play conventional music are threatened by electronica and don't consider it to be as valuable as what they do.

Records are just moments of achievement. They're like receipts for work done. Time goes on and people keep playing music.

The atmosphere defines the environment of sound.

What I'm dealing with is sound. I don't pretend to be dealing with music. I'm just dealing with sound elements, textures and sounds.

Miles Davis fully embraced possibilities and delved into it. He was criticized heavily from the jazz side. He was supposed to be part of a tradition, but he didn't consider himself part of a tradition.

In all the music that deals with experimental repetition, drum and bass, dub, various kinds of house music, there's always been a quality of atmosphere and ambience.

Computers and electronic music are not the opposite of the warm human music. It's exactly the same.

If you listen to really deep ambient records that don't move too much, very still records, long after those records are finished, you might find yourself listening for hours to the sound of the room.

Nothing was a style first. Everything started as an idea. A guy did something with an idea. Someone copied him. Some copied all of them and it became trendy and then it became a style.

Sound comes out of a life experience.

People are afraid of things they don't understand. They don't know how to relate. It threatens their security, their existence, their career, image.

Engineering producers who don't play and have technology as a background may be the reason why there's a lot of cold non-musical music, for lack of a better description.

I don't think technology is viable unless the person applying it has something to say.

I got into dub a long time ago. I was into dub before I even had any interest in reggae or Jamaican songs, Bob Marley, or any of those established artists. I just thought it was such an unusual sound.

I put projects together. I put people together.

I think everything's experimental whether you like it or not. I think that people who do generic pop are experimenting with cliches. It's no less than I am experimenting with noise or unknown music - until you say, 'This is my song, or this is my composition' - it's all experimental, whether you like it or not.

I think if you look at exactly where you are, you can't really focus without looking back and forward at the same time.

I've never used ethnic music as decoration for profit.

When you use music to worship you are not attempting to entertain.

Pop music, disco music, and heavy metal music is about shutting out the tensions of life, putting it away.

When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.

You've got to realize. In the western world, regardless of what color you are, what title the music is, it's all played by the same notes.

Don't make music for some vast, unseen audience or market or ratings share or even for something as tangible as money. Though it's crucial to make a living, that shouldn't be your inspiration. Do it for yourself.

Whether I'm doing music or I'm walking down the street or I'm in a record store buying a record or I walk into a comic store and I'm buying comics or having a drink with my friends, it's the same me.

When rock came along the lyrics and melodies became less important and it bothered me to think that perhaps they might not regain the value they have to music - they are music.

I want to promote poetry to the point where you got all the baldhead kids running around doing poetry, getting the music out of the way and having only words, the spoken word, and then see what happens.

There is no music that can't be used politically, but the motives behind the creation of that music can be non-political.

The kind of music or the kind of arrangements that I do, the kind of musicians I choose, is just what I like to hear.

If not for music, I would probably be a very frustrated scientist. It's one way to answer the question, 'What is the meaning of life?' I feel music answers it better.

Since I'm allergic to various things, the army wouldn't accept me during the war, and I got into the Office of War Information, which sent music to Europe.

My singing is my hobby. It's me and my brother. We just enjoy writing music.

I was determined to carve out a music of my own. I didn't want to copy anybody.

I have tried to make the music a bit easier for them to understand.

What makes my approach special is that I do different things. I do jazz, blues, country music and so forth. I do them all, like a good utility man.

That music and the lyrical aspects of Razorblade Romance is so personal to me that, now with me being grown up a bit and meeting new people and doing new things, it makes me look at the same things I was writing about back in the day through a different colored lens.

The only time I would like to see was the 20s and 30s in America because I love the music and the style and the optimism, I wanted to see New York being built. I wanted to see all that, you know.

My big love was the Beatles. I was more into music.

When we started making electronic music I imagined that the reaction we got from the rock musicians must have been similar to the one the beat groups got from people like my dad.

Uhm, I'm the one wanting the lessons! I don't want to say too much about it because I'd rather have you see the movie, but he's trying to find his music.

The value of music is to be able to play one note at the right time in the right way.

Younger players in this music often turn out to be middle aged; it is not a young music.

There's an inherent thing in me where, if things are going too smooth, I'll sabotage the hell out of them, just to make the music more of a sanctuary.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.

We used to listen to all the marvelous operas on records. Music was a very important part of our lives.

Drums just always sounded like the most fun part of that good music for me.

Record covers helped me discover a lot of music that I wasn't aware of.

It was very interesting for me because DNA made music without much technical knowledge at all.

So it was out of necessity that Blackheart was born. I think it's great that now, 25 years later, we're not only putting out our own music, but are able to put out music by other bands. That's really exciting for us.