Scott Rogowsky Quotes

I can't think of any musician or producer who has influenced me more than Brian Eno. From when he was in Roxy Music, producing Devo, the Talking Heads and My Life in the Bush of Ghosts.

I always like to say that the music I'd like to make is somewhere between Pan Sonic and Scott Walker. But I don't sing anything like Scott Walker.

A lot of my favourite songs have Eno involved, but I love the work he does on the first two Roxy Music albums. He's creating atmospheres as opposed to composition, and it's a beautiful mixture with everything else in that band.

Technology was changing just as we were getting started. You had these records by people like David Bowie and Talking Heads and Brian Eno that took production into a whole new direction. That really influenced us, and pushed us to find that early sound we had.

I guess you could call my music progressive, pop, rock.

I'm definitely influenced by Animal Collective. I watched them early on.

If Brian Eno wanted to make a record, I'd definitely clear some time in my calendar. John Cale, too. Those guys consistently make great records, always doing their own thing.

If someone says 'grunge' or 'punk,' you know what the sound is, but if you say 'No Wave,' it's kind of mysterious. That was the most interesting part and should have been the most inspirational thing about it... here's this collective sonic insanity, and none of it sounds anything alike.

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.

In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.

One of the things that make Liars so fascinating after five albums, each one so completely different from the others, is that even though they play around with all the classic tropes of art-damaged angst-noise perv-rock, they exude a totally cheery and boyish enthusiasm onstage, goofing around with their keyboards and beatboxes.

The Geezer album, Black Science, had a lot of keyboards and it did not work.

It's very schizophrenic because I like a lot of very straight pop, like Small Faces, Stones, Kinks; and on the other hand, I like a lot of avant garde things.

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.

The Zombies were really unique - they had elements of jazz and classical music in their songs and songwriting. They had a very, very different sound compared to a lot of their contemporaries at the time.

When Talking Heads started, we called ourselves Thinking Man's Dance Music.

Rock and ambient music might as well reside on opposite sides of the galaxy, so it's almost shocking when a band like Deerhunter melds the two so effectively.

Sonic Youth could never really get it together acoustically - quite frankly, it wasn't something we were really that interested in.

The Weeknd's 'Can't Feel My Face' is very experimental. It's pop meets urban meets indie meets alternative.

I was brought up on Black Sabbath, David Bowie, 50 Cent, and Guru. And it all comes out in my own music somewhere.

I want to keep Flume kind of experimental, weird, melodic, pretty.

It's perhaps easier to say what prog rock isn't than what it is: it's not three-minute pop songs, it's not straightforward rock, metal, blues or jazz, but can have elements of all them and more. It's a form that is on the boundaries of many different forms, that is open to all sorts of influences.

Bjork's album, 'Homogenic,' it's got beats, strings, traditional Icelandic stuff. That's my benchmark for what an album should sound like, right up there with Coltrane's 'A Love Supreme' and Marvin Gaye's 'What's Going On.'

Bands such as LiLiPUT and Essential Logic were just as unorthodox as Gang of Four or Wire, even taking their sounds a step further with shrieking vocals and saxophone.

On 'Kaputt,' singer-songwriter Dan Bejar reevaluates his band's sound and drifts away from the David Bowie comparisons that have plagued even his best albums.