Varg Vikernes Quotes

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.

I think early on in my career, I was heavily inspired by bands like Throbbing Gristle and Test Dept, and films of David Lynch, for example, where the soundscape plays a very important role in the listening experience.

Even back when I played 'straight-ahead,' I mixed it up. I played some free-form, classical adaptations, solo flute stuff. It was New Age in its own way.

Musicians like James Blake were a big influence on me. How he uses his vocals is amazing. And then Yeasayer and Animal Collective, who aren't pop bands exactly, but they do something that is so catchy and undeniable and so much fun.

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.

'Deconstruction' is a really heavy record, a real symphony in a lot of ways, but with heavy musicians from the metal world - friends of mine.

In 'Kid A' and 'Amnesiac,' Mr. Yorke's lyrics were often unfathomable, moaned and mumbled and forced beneath the surface of the music. In 'Hail to the Thief,' most but not all of the words can be decoded after a few listens.

I was doing the Klaus Schulze noise-kid thing before it became interesting to people.

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.'

For more than 15 years, Mogwai has built a reputation on its monstrous ambitions for rock music.

Justin Broadrick's career isn't widely celebrated, but it's still shockingly uncompromising. From his place at the beginning of grindcore with Napalm Death to his role in Godflesh's expansion of industrial metal, the U.K. musician specializes in artistic hairpin turns.

We've been appropriating in art since Duchamp, and we've been appropriating in music since the first person was banging on drums.

What's incredible with Trent Reznor is how he took all the alienation and the rejection of traditional rock and found a way to encapsulate it in a form that made the public finally get industrial music.

The first artist that did it for me with just production was James Blake... I was just blown away... I feel like James Blake kind of was the one that introduced me into that world.

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.

Pan Sonic sound like they are playing music of the future made with the electric instruments of yesterday.

I've always been very progressive and as much as I play Old World music, I have this progressive tenacity to keep adding futuristic elements in subtle ways where you won't notice.

I like Philip Glass. I think he's made some really great contributions to his field. I love his style of playing - it's very loop-style.

Massive Attack has always been more of an experiment than a band or even a collective.

At the time, 'Oxygene' was considered a totally 'far out' concept... What was 'in' at the time was disco, hard-rock, and the early days of punk... and moreover, 'Oxygene' was instrumental. And I was French!

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

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

I admire Brian Eno so much in how he seems to push the idea of less being more - his touch is to crack open a window and let the light in.

We are aiming to create a new genre with a new style in terms of visuals and sound. A mixture of dance and metal which strays away from the traditional or conventional metal band.

There would not be Skaters or Emeralds or any of these bands if it weren't for Double Leopards.