Flying Lotus Quotes

I love Dilla, and who knows where this beat thing would be without him.

In high school I was making beats for my friends and for myself and rapping over them.

I'm not looking to go out there and make a rhythmic Timbaland track.

When I found Freestyle Fellowship, I started getting into the construction of rap. You get better at it the more you do it; you figure out the science and the math behind it.

J Dilla is the top producer of all time, in my book, alongside Timbaland and Pharrell. Then DJ Mustard.

Like with me, like around '97, for Christmas my parents bought me an MPC 2000 sampler and a little eight-track cassette recorder. And I started sampling records and, you know, producing hip-hop beats. And it got to the point where I realized - I innately realized that the music I liked the most was made by people that played instruments.

I come from the school of hip-hop where you just buy records and sample records all the time. Doing that is tough sometimes, because if you get a placement on a major record, your record could get shelved because of clearance issues.

It's not easy to sound like Dilla, but you can make beats like Dilla with your computer, so that's why everybody sounds like Dilla.

There are not many people that I respect more than rappers. I'm a huge fan of hip hop. It's incredible, one of the most influential things to me. It takes real genius to be able to do well. It's a very deep art form.

All the Public Enemy albums, I knew what records they were sampling but was like, 'How'd they construct it like this?!'

So I was about 19 when I got my first SP-1200, and on that SP-1200, I made 'Bring The Pain' and a few other classic Wu joints.

Bad Name' is just that head-nod, traditional loop over a breakbeat, chopped up, and it sounds like the way I do my thing.

'Welcome to Atlanta' was a song I wanted to do on my first album. The idea was for me and Outkast to do it, but I could never come up with a beat for us to do it. Outkast beats and my beats were very different.

The 'Can It Be' beat was sick!

I love songwriting, and rap is part of my songwriting, but I'm not a rapper.

I grew up around electronic instruments. To me, the turntable is an electronic device. At the same time, I had access to drum machines and keyboards through my uncle; then track recorders into computers. At an early age, I was messing with computers more than most hip-hop musicians.

I just want to put my stamp on all kinds of music. Everything I do is going to be gangsta rap, street-based, street-oriented.

I love sampling, and RZA loves sampling, too.

I grew up on hip-hop and crate-digging and those sensibilities are deeply ingrained in me.

If you know Down South production, Roland 808 is in almost everything.

I use whatever it takes to make the tracks identify what me and Guru are all about.

I work with any producer that brings me a hot beat, but you don't always know if it's a sample.

I started making beats when I was 13.

It's certain rappers that can really rap, that really spit all bars, so I understand why someone would say, 'You not a real rapper.' But the main thing is, if you can make good songs, who cares? So I don't know why guys be tripping on Drake. He makes great music. He's dope.

I've worked with incredible producers in the past, but when me and El-P got in a room, there was no way I was going to let off his head because not only was he one of the greatest producers I heard, he was one of the illest rappers I had ever heard.