Sufjan Stevens Quotes

There will be some tracks on the next album which that will consist of mostly noise and feedback, whereas others may just have guitar parts and samples.

I started using contact microphones that you can place on common, ordinary objects, like a rake. I put a microphone on it and it picked up the tines vibrating and turned it into a horrible din. What attracted me to it was the horrible din - that's what I really liked.

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.

I don't think our music has much to do with math rock.

I saw Double Leopards play at my school and realized there were other ways to approach noisy music that weren't necessarily aggressive. That became a very important concept for me as a musician. I don't think I would have been that interested in creating and performing my own music if it wasn't for this group.

I wanted to find a bridge between Musique Concrete, electro-acoustic music, and proper rock music.

I don't care about the underground, even if that's where I'm currently residing sonically.

OPN is completely off the grid. Its like the slime underneath techno and other synth-oriented music.

One of the most prevalent and undermentioned genres of music is what is known as noise. You can find it all over the world happening in basements, small venues and even some festivals. Often blown off or belittled by critics, the form for the most part goes unheard and unnoticed.

To some degree, yeah, because I have to play a certain number of originals that might be considered avant-garde material. I realize though, that only a few people in the audience actually know what that music is, or understand it.

Hearing things like 'Wake Up' by Lora Logic, or the Raincoats' 'In Love' - that was something I wasn't prepared for. I couldn't hear anything that came before it in the music, and I didn't want to. I was absolutely in love with its out-of-nowhereness.

Parallels between classical and pop are not new. The whole San Francisco movement of John Cage and Terry Riley went hand in glove with what the Velvet Underground were doing.

I'm amazed at how adventurous and how dangerous the music was, and still is. I haven't heard anything like it since. I'm quite surprised, because a lot of the music on there we never heard at the time.

Each record in the 'Book of Angels' series is meant to be unique in terms of the compositions.

I don't appreciate avant-garde, electronic music. It makes me feel quite ill.

Anything that catches my ear, I'm into. Things that are different, that change what you're listening to.

I'm also very impressed with the best people in experimental electronic world, like Peta and Eckart Aillers and Finez and Jim O'Rourke and Oren Umbarci and Francesco Lopez. Most of them use the computer as their main instrument.

Out of doing all that experimentation with sound I decided I wanted to do it with live musicians. To take repetition, take music fragments and make it live. Musicians would be able to play it and create this kind of abstract fabric of sound.

We were like psychedelic folk combined with Sonic Youth's noise.

I'm recording an album. It's sort of techno mixed with garbage - you, know, intense in-your-face music.

I like trying to make sounds that are interesting and are a bit weird. I try to make music that captures people's imaginations.

We made music that wouldn't be in synch.

I worry about being a fogy and just writing for orchestras. Like, really, I should be doing more electronic stuff, I feel. Laptops as part of the orchestra, and installation sound, and speakers.

I am not doing something that it is experimental music in relation to classical music.