Oneohtrix Point Never Quotes

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

I'm into heavy duty, psychedelic, foreign music. That's what I like listening to.

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.

Our audience seems to be able to handle whatever kind of weird opening acts we turn them on to. I mean, sometimes it happens to be something like a band like Nirvana or Mudhoney, and other times, its just weird noise crews that we dig up.

I've always felt that all the music I've made is psychedelic, including Throbbing Gristle.

The majority of the people think that noise is not music. I want to accept noise and even errors and glitches. I enjoy them.

Brian Eno and Robert Fripp's foray into some artful excursions into some ethereal electric experiments. There was a lot curious activities emerging in London, Amsterdam, and Berlin back then developing some fiercely fuzzy of synth-like effects way outside the norm which really blew the lid off things.

I come from a background of experimental music which mingled real sounds together with musical sounds.

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

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

It's no longer unusual for real avant-garde composers to have been in a band, and for bands to be interested in a wide range of music. Look at how artists like Aphex Twin are influenced by Nancarrow and Stockhausen.

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

It turns out that there's a huge community of African-American musicians whose main influence is Throbbing Gristle.

On 'Black Ben Carson,' I had strict no melody thing. I wanted straight, raw, rugged noise music.

I love futurist music.

Sonic Youth played one show before we even had a drummer. It was just me, Kim, and Thurston. The lights slowly went down, and the set was just 30 minutes of feedback.

We used to have endless discussions with journalists about that: 'Why are you calling it noise? It's not noise, it's music,' and make references to everybody from John Cage to whoever.

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.

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

I mean, most of it is probably more obscure and just more noisy than either of those two bands, but Thurston has stuff all the time that he's involved with that is fairly obscure and experimental.

I probably went to musique concrete concerts - though not the very first ones - at the beginning of the 50s.

We made music that wouldn't be in synch.

I still feel like I have a lot to learn in the realm of sound experimentation, and I think I would like things to get noisier and weirder and more distressed and more aggressive, but I don't know if that's something that would be suitable for public consumption.