Adam Christopher Quotes

Nine Inch Nails' sound is dominated by clanging synths and sardonic, shrieking vocals.

I'm sure there is a group of people that assume Nine Inch Nails is just noise and chaos - or whatever it might be dismissed as, and sometimes is.

I grew up listening to a lot of Kraftwerk, Gary Numan, Devo, all that stuff.

Kraftwerk isn't a band. It's a concept. We call it 'Die Menschmaschine,' which means 'the human machine.'

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

We used to have quirky weird bands that made dance music like the Pet Shop Boys and Depeche Mode and I think people have still got an appetite for that type of music-melody and darkness.

I really like Cold Cave.

Leading into 'The Hurting,' what changed our view of music was Gary Numan.

My whole life, I've loved '80s synth and goth rock like The Sisters of Mercy and Depeche Mode.

Ultravox were the blueprint for what I wanted to do, but I stumbled across them by accident.

Self-examination with a close-up mirror in an antiseptic environment is what Nine Inch Nails is based on.

I'm not much into current electronic stuff, what I think of as lounge electronics, mumbling electronics.

Gary Numan had a huge influence on both my music and my style. He had his own unique fashion sense - that futuristic space style. It was out there.

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

My sound is definitely what I like to call 'e-clectric.'

I wanted to make the kind of records that I heard in the discos that I danced in at that time. Funky, electronic sounds, while the musicians in the band were more rock oriented. This I suppose created the sound we know as Frankie Goes To Hollywood.

I can't get enough of this guy called Baths. He's a total L.A. dude and really young as well. It's super-electronic, but with almost Hall & Oates-style songwriting. Without the context of the production, it could be super-cheesy, but it has amazing harmonies.

I had an album out at exactly the same time as 'Love to Love You' called 'Einzelganger,' and it's great, all electronic. I'm using a vocoder, doing all this cut-up stuff on there, but no one knows about it.

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

Throughout my years in From First to Last, I was always dabbling and making electronic music on my own time. The first records I ever owned were crossover electronic rock, like Prodigy, Marilyn Manson and Nine Inch Nails.

I hate the word gothic but I would like to try doing something like that. A gothic sound, not rock, but gothic. There's a difference.

Prince turned experimental music into pop music. 'When Doves Cry,' the whole 'Purple Rain' soundtrack - he was inspired by the Cocteau Twins and new wave pop and brought it into R&B when he first started, and then it became this cool, next-level, kind of hard-to-digest music. Which is what I felt 'House of Balloons' was.

On the Junior Boys' 'When No-one Cares' beats are abandoned altogether, the track's 'endless night' lit only by the dying-star flares and stalactite-by-flashlight pulse of reverbed electronics.

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.

I grew up listening to bands like the Cure, Joy Division, Cocteau Twins, Dead Can Dance - these are the bands that I actually grew up with, and I always had these things in my taste, too. And I always loved industrial music as well: I listened to Throbbing Gristle, SPK, Cabaret Voltaire. And shoegaze bands like Slowdive and My Bloody Valentine.