Kevin Parker Quotes

And if I would have taken lessons I probably wouldn't have done it, and what forced me to do all this weird stuff on the guitar was I couldn't afford effects pedals, I didn't have all this stuff when I was a kid so I just tried to squeeze all the weird noises I could out of the guitar, which brings me to building guitars.

I've always said the bass just happens to be the crayon I picked out of the box. I'd still be drawing the same pictures... should I have picked trumpet or accordion or guitar, whatever it may be. The sounds in my head are still the same.

In the past, I tried to be more of a typical session guitarist. I wasn't so concerned with impressing anybody.

There's something about a wah pedal that really gets my gut going! People will probably say, 'He's just hiding behind the wah.' But that isn't the case. It's just that those frequencies really bring out a lot of aggression in my approach.

I've been in the studio experimenting on making a CD of my own. I'm trying out different producers, styles, sounds. With music, as opposed to acting, you are not playing a character. You are showing people who you are. I really want to have my spirit in it.

Lots of people think it was Jimmy Page who had the first fuzzbox. It wasn't, No! it wasn't me either.

As a songwriter, you tend to develop your own style, your own technique, based around what it is you're trying to write and perform, in terms of your own music. So a way of evolving a guitar style as a songwriter is much easier, I think, than developing a true style of your own just from listening to music or playing other people's music.

I want to make sure that I make music that lasts. I've been experimenting. I've been writing.

Every piece has its own identity which we develop by the rule 'We know no limits.' We follow the inspiration of the moment and don't worry if what we're playing is alternative, progressive or fusion rock.

People are always defining and re-defining music. My style of playing has been characterized as smooth jazz and acid jazz. I listen as I play; I'm not caught up in defining the type of music I play.

At first, I found the music I was making really hard to find a home for. I felt like my attitude was really British, but not the actual sounds I was making. Back in 2003, when I made 'Galang,' there were no clubs that had an 'anything and everything' attitude.

I realized pretty soon that I have to do more than just play bass in the background way. So, I developed a kind of playing which only a handful of musicians accepted.

So I'm writing more highly personalized and intellectual music, and I think that's good. It might take longer to find me, but I think that niche is perhaps underserved, so I'm going to serve that.

I think to stay in one sound is a career killer.

I was making more electronic and synth-based music, and when I changed my name, it helped me grow and liberate myself a little bit.

My central quest was to have a piece played on the saxophone sound like more than one instrument, exploiting different registers and wide interval leaps.

In the '70s, my playing was completely untutored, but it sounded good to me, and I tried to find ways to make those very simple things work in more ambitious contexts.

If I like dubstep and electronic, why don't I make the violin fit me rather than making myself fit the violin?

I started with the piano-accordion and rebelled against it, but I could not afford piano lessons.

I study what's happening in music. I want to sound different than everybody else.

I played a guitar with a file, and a synthesizer.

A lot of other people have used the talk box but have used it as a sound as opposed to actually making the guitar enunciate words.

When you've got hardly any equipment, very little money and no access to any information, your sound is very much dictated by you, your setup and what you're listening to. Nothing more.

The danger of a rock band is repeating oneself. It's our greatest fear - that it evolves into the myopia of a semi-successful band that's in love with its own shadow.

I think it was inevitable that I get into synthesizer music. I always wanted to deal with sound more than anything else. I couldn't get the sounds I wanted out of the piano.