Jon Hopkins Quotes

Electronic music used pure sounds, completely calibrated. You had to think digitally, as it were, in a way that allowed you to extend serial ideas into other parameters through technology.

I'm an electronic guy, I'm a freak for electronic music but real instruments, the dynamic range of it, and the emotions, there's no comparison.

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.

It is at least 10 times more difficult to get a good synthesiser sound than on an acoustic instrument.

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.

I like really sparse electronics, lush arrangements, and interesting chord structures.

We got pretty techno on 'Eliminator' and 'Afterburner,' which I enjoyed. I think they're good albums, but we wanted to start using the techno element a little more sparingly.

People are approaching electronic levels in music; although not all of it happens to tickle my fancy.

If you want to make people dance, you need to follow certain rules. Build-ups and breaks and stuff. I like to be free. On top of it all, I never really felt that I'm good at making fat-sounding dance tracks.

I was the first artist, I think, to ever do an all-keyboard album. There were things that resembled it, like Stevie Wonder. A lot of his stuff was on keyboards, but he used brass and he used other things as well. I was the first artist, also, to use drum machines. I was really the one who kind of started that whole thing.

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.

I produce electronic kind of music, like EDM kind of stuff.

As a guitar player, I've been influenced by dance music - it was Crystal Method and The Prodigy back in the day. I would listen to those textures and try to approximate them on the electric guitar.

I'm into sounds, man.

I was always fascinated particularly with synths: how they looked and stuff that when you're a kid you're like this is the most incredible thing in the world just to play.

I generally use a lot of analog instruments, a few synths from the '80s like the Roland Juno-106, and an old Fender bullet guitar.

Electronic music has existed since the '70s, and it's almost comical how many subgenres of it there are.

I love Sylvan Esso. I want to bring in more electronic elements, but also some analogue stuff. Stuff like '70s drum machines really fascinates me.

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.

The first turning point, when I stopped doing things by myself and the Bastille project began, was the inclusion of more electronic music into the sound.

The last thing I do is go and listen to heavy rock music. But I love electronic music. The purity of the tones is inspiring, because it's obviously much more controlled than a guitar tone.

I think making electronic music isn't much different from writing a book or painting a picture or making a film. It's a creative process, and it's an art form.

I love 808s - not only the Auto-Tune but just, in general, the embrace of a kind of digital style of working.

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

'Blackheart' is purely falling into the electronic world and pushing the envelope.