Sunny Murray Quotes

I discovered that the most interesting music of all was made by simply lining the loops in unison, and letting them slowly shift out of phase with other.

If I could make noise with anything, I was going to.

In particular what is most important to me is the transformation of a sound by slowing it down, sometimes extremely, so that the inner of sound becomes a conceivable rhythm.

I don't even think whether I play the blues or not, I just play whatever feels right at the moment. I also will use any gadget or device that I find that helps me achieve the sort of sound on the guitar that I want to get.

When I went into the studio I created a sound that I wanted to hear.

I was left with an urge to make the guitar sound like things it shouldn't be able to sound like.

The Internet has given us an unlimited platform of knowledge and inspiration. Sometimes the most efficient way to create a new sound is to cross between genres and experiment with noises/tempos that wouldn't normally go together.

I think it took me until - my twenties were really a time of exploration and experimentation with different groups and different types of music. Then I kind of developed the sound, which first appeared, I guess, on my first solo album 'Englaborn,' which came out in 2001.

Clipping is a very specific, concept-y thing. We have all these rules: we don't sample drums. We create all our own sounds. I don't speak in the first person. We come from a background of experimental music like John Cage... Philip Glass.

I have got a lot of appreciation from people and they really like my voice in Sufi songs, so I will continue with that, but I'm also experimenting with other types of songs.

The 11-minute 'Colouring of Pigeons' takes The Knife's experimental, cerebral side to new heights.

Sometimes you can just record anything and slow it down hugely and you'll find all these hidden notes and frequencies that match up really nicely.

Just from the beginning, I really liked playing around with tape recorders. And then, when I got into punk rock, I only really liked - the rawer it was, the more I was into it.

'Lemonade' is made out of bubbling, fizzing, popping, and 'Hard' is made from metal and latex - they are sort of sculptures in this way. I synthesize all sounds except for vocals using raw waveforms and different synthesis methods as opposed to using samples.

We wanted to be like Radiohead. When they started experimenting with electronic music, it gave us the idea that it might be a cool idea to do.

To me it's all about textures, and that's the side of music that I'm finding really exciting. I feel like it's one of the only parts of music that mankind hasn't fully discovered yet.

We're not playing your typical guitar tuning, so there is no normal chords for us to get our footing with. We're pretty much making it up as we go as far as the sounds we're creating. Oftentimes, the song will be inspired by just a certain kind of block of sound that somebody creates.

I think New Order have got their own sound. But what we like to do is experiment, using dance music and other things.

'Some Kind of Monster' is a challenge, and 'Through the Never' is an extension of that. Even the album we made with Lou Reed, it was a challenge.

I don't really play a lot of slide in general, but it was fun getting into that style and exploring it.

My drum parts are a song within the song; that's the way I look at writing my drum parts. They follow patterns, and they're written to interact with the rest of the band. There's quite a bit of thought that goes into it.

I wanted to play rocking country music, and when I started out in the late Seventies, it took me a couple of albums to figure out how to do that.

When I was about 15 I had already been recording on my four track in my room, but I couldn't find anyone in my town to be in a band with me. I was in a band very briefly with a bunch of guys and they kicked me out because they wanted to play grindcore. I think they didn't think I could tread hard enough or something. So I started playing solo.

It's fun for me, and I love singing Arch Enemy stuff without clean singing, but I think it would be cool to introduce it. It's just a matter of if it feels right.

Tame Impala's music revisits a time when guitar effects and studio tricks were music's newest frontiers; when rock was barely old enough to drive and violently threw conventional ideas out the window.