Mark Fisher Quotes

'The Burning Dark' needs a certain kind of soundtrack - something dark and moody, electronic, weird. One of my favourite bands is Ladytron, and I think they'd fit the bill quite well.

From George Martin's classically inspired production of the Beatles to Peter Gabriel's early solo masterpieces, to Stereolab's beautiful loops and blips, U.K.-based bands have often found a way to squeeze warmth and compassion from the stone-cold - especially now that the tubes are gone - machinery of the recording studio.

I used to love jungle. I still think it's the ultimate genre, really, because the people making it weren't musicians.

I'm still as fascinated with the music business as ever. I'd love to do an electronic album like Prodigy or Underworld. I really like that sort of music.

Can you imagine Grandmaster Flash on a laptop?

In some ways it's hard to see electronic music as a genre because the word "electronic" just refers to how it's made. Hip-hop is electronic music. Most reggae is electronic. Pop is electronic. House music, techno, all these sorts of ostensibly disparate genres are sort of being created with the same equipment.

I made a more mature approach to industrial music.

To me, I'm always trying to look for the energy, to imagine in being played on the dance floor. I guess that's the most important thing in making music for me.

What Skrillex does with Ableton it's like being a little god. It's not just pushing loops - that's easy - but to do the effects he's a genius.

I'm trying to fly the flag for the days of electronic music where people who are making it are also building the gear because that was what was happening in the very early days of electronic music. And that spirit is one of the things that really appeals to me about electronic music so I'm putting this forward as a way to keep that.

When the musical keyboard was created in the 1970's, you had electronic geeks that had no background in music created these devises and gave them to musicians that had no background in electronics. The result was some of the wierd sounds that came out in the '70s.

I don't think about, "How does this song that has more of an electronic mix prefix to a song that has a full orchestra next to a song that has other things?" I just work on it as-needed.

Human After All was the music we wanted to make at the time we did it. We have always strongly felt there was a logical connection between our three albums, and it 's great to see that people seem to realize that when they listen now to the live show.

When I use electronic beats and program things, there's something quite brain about that - you're feeling it in your body but it's like a puzzle you wanna solve, and it gets very detailed. I really enjoy that side of music.

Calling all dance music producers! I'm available.

I think a lot of electronic musicians are drawn to starting with texture because the whole reason we're working with electronics is to try to create new sounds or sounds that cannot be created acoustically. When you're doing that, it's nice to be able to just create a different palette for every single song. I feel like a lot of electronic music sounds like...Each album sounds like a compilation more than it does a band.

You didn't hear Yello until later in the night in the bondage clubs. Things would start getting crazy and that's when you'd hear Yello. It was bad.

When I went to school, it was really just to immerse myself in listening to, studying, and making music. I came out like, "How is this going to be more than a hobby I'm always paying off debt for?" I could've sat at a desk and written pieces for orchestras that never would have been played, or I could've written music for me as a performer. I play electronics, and the places I was gonna be playing were bass clubs and house parties.

I wanted to keep the music very electronic, very filmic, and give it an almost sci-fi like quality. Music is a necessity for me. I go into the studio at least five days a week, every week, so once I had the idea and the template, the process was quick and fun.

The thing is, I would need the right producer [for dance-music album ], right? "Calling all dance music producers! I'm available.

When I was a teenager, I got into four track recorders, drum machines, and synthesizers, and I started producing instrumental music.

DJ Tiesto was my first inspiration. I heard him play at the Olympics in 2004 and from that moment on I knew I wanted to make music and become a DJ. I made a bootleg of a track by Enrique Iglesias called Tonight.

I'd hear some beautiful Sade or Kings Of Convenience ballad remixed in a club and I liked that these simple little songs seemed to be masquerading. They had put on superhero costumes, got all beefy, and here they were on the dancefloor. I was interested in that. I can't make electronic beats, so I leave it to the pros like Boys Noize and Chromeo.

In a basic music way, my sense of melody and my style of songwriting and production carry the same thought process into the new music. I'm thinking about machines and electronics, and how they interact with motion, which I've touched upon in the past. Those key themes are my main interests, and they are really the foundation for my approach to music.