Kaskade Quotes

Every milieu has something ridiculous about it - film-making, the music world, painting - because people who take themselves seriously become funny pretty quickly.

Everyone making electronic music has the same tool kits and templates. You listen, and you feel like it can be done on an iPad. If everybody knows all the tricks, it's no more magic.

Cranking the Auto-Tune is so easy to do that there's almost no systemic resistance to trying it. So when someone's stuck for an idea, that's what they do. I mean, to the extent that it's been embraced by an entire idiom of club music and culture.

Thomas Dolby is part mad scientist, part nature boy, and entirely moved by the power of music.

When I started working on electronic music, that was after the rave period. I haven't even seen that part of it that much.

A lot of people see electronic music as a flavor of the week, but it can be more than that - has to be more than that.

You'll find little schools of musicians experimenting with different ways of making music in Brooklyn, all through Manhattan, in Queens, in Jersey, you know? The city is still bubbling with creativity.

I associate creativity with independent music.

I don't know if a song is going to be a hit or it's going to flop. I never know. I just do the music and if people like it, they like it.

Sonic Youth, for better or worse, is/was a machine that carried me along through pregnancy, motherhood, and creative opportunities I never would have achieved on my own. I'm grateful and surprised that we were listened to, loved, ignored, and overrated.

Coming to Nashville has been so motivating and inspirational. Just watching people live and breathe their music and create something that they can feel from start to finish.

People like Aphex Twin, Jason Pierce, Jarvis Cocker and William Orbit are actively showing their interest in a wider field of music. Jarvis and I met on a benefit for an extraordinary man called LaMonte Young, the father of minimalism, who worked with John Cale and shared a loft with Yoko Ono.

I remember times when the whole music scene was just flourishing.

You're surrounded by electronic music in New York. I mean New York is one of the few places in North America where electronic music is the prevalent form.

I think I was so grateful, in the years after Sleater-Kinney broke up or went on hiatus or whatever you want to call it, to find 'Portlandia' and co-create 'Portlandia' with Fred Armisen, which allows for levity, allows for the same kind of kinetic energy, but channeled through absurdity and surrealism.

The music industry is so cool because it's constantly changing.

I didn't really want to be in the lifestyle without the music. And I didn't want to be in the music without the lifestyle.

I love rap, and part of hip-hop culture is being excessive and absurd, and I can't be excessive and absurd without sounding corny. So I have to do it in a very truthful, weird way.

If you're going to be ridiculous, be over-the-top ridiculous.

I think that music is a very, very powerful thing, especially when you have a movement like this [CBGB club] to shed new light on music and the power of it.

I have found among my papers a sheet . . . in which I call architecture frozen music.

I enjoy them both [singing and acting] a great deal. I have a passion for both. Maybe acting just a little bit more because it's more of a challenge for me, while music comes so easily.

There's nothing like the eureka moment of knocking off a song that didn't exist before - I won't compare it to sex, but it lasts longer.

Well, art is art, isn't it? Still, on the other hand, water is water.

People just try to put you in a box and I don't see myself in any particular box. I'm making my own box. There's no way I would be able to make the music I'm making without dancing.