Anthony Fantano Quotes

The thing that's good about Hip Hop is that it has experimented with a lot of different sounds and music.

If we're weird onstage, I don't know what you'd call the Tubes.

I think I came across Cecil Taylor a bit later, in 65 or 66. That really impressed me - Cecil Taylor is an amazing character... Both his music and the way he approaches the instrument are astonishing.

I have no interest in making music that's built for an antique shop.

I mix up all styles on my albums because that is what music is about now.

Musicians like James Blake were a big influence on me. How he uses his vocals is amazing. And then Yeasayer and Animal Collective, who aren't pop bands exactly, but they do something that is so catchy and undeniable and so much fun.

A lot of the stuff I am now seeing is edgy, raw kinda material.

He helped make Living Things even more crazy than I wanted it to be. He added old-fashioned piano and classical folk music - that weird otherworldly vibe - all these elements got onto the record.

Anything can become a musical sound. The wind on telegraph wires is a great sound; get it into your machine and play it and it becomes interesting.

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.

With guitar, I'd always mixed more sounds that occur in hip-hop, or occur on Crystal Method records, or occur at the zoo - so I've never been sort of tethered or have limited myself to the traditional rock n' roll vocabulary.

Rock and ambient music might as well reside on opposite sides of the galaxy, so it's almost shocking when a band like Deerhunter melds the two so effectively.

'Maxim's' was supposed to be on 'Ekstasis,' but it was very much in its own world.

Every Dirty Projectors album is a world unto itself.

My sound is, at its core, a mix of things. Definitely an imperfect mix, but one that incorporates elements of the music I love - a bit of indie rock, super rhythmic rapping, and lots of synths.

Ultimately, what interests me is using exotic sounds in my songs.

I've purposely made my music to be challenging and different. There's some electronics, R&B, blues, Motown, country, jazz and lots of soul.

It's perhaps easier to say what prog rock isn't than what it is: it's not three-minute pop songs, it's not straightforward rock, metal, blues or jazz, but can have elements of all them and more. It's a form that is on the boundaries of many different forms, that is open to all sorts of influences.

I'm no Robert Christgau or Chuck Klosterman, but I would say that Landlady is like if Harry Nilsson was produced by Brian Eno. Or, if David Byrne fronted Wilco. Those are my two hoity-toity musical epigrams.

I've always wanted to dress like this, and I've always wanted my music to have the edge, the twist to it.

'The Whale' was in the category of so-called serious music, and yet it brings together a wide series of musical styles. It was influenced by people such as The Beatles, the spirit of the times, and I think 'The Whale' certainly had a pop element to it.

I love doing supercrazy, avant-garde but still stunning looks.

The majority of the people think that noise is not music. I want to accept noise and even errors and glitches. I enjoy them.

Manet did not do the expected. He was a pioneer. He followed his individual whim. Told the public what he wanted it to know, not the time worn things the public already knew and thought it wanted to hear again. The public was very much offended.

I wanted to be in Rolling Stone number two with a tomorrow feel to it, like an experimental Rolling Stones with Jagger singing.