Kirstin Maldonado 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.

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.

I was always interested in mixing experimentation with pop music, and Brian Eno, Kraftwerk, Tangerine Dream - we were all doing it at the same time, just very isolated from each other, all in our different cellars, in different worlds, without the Internet - underground in every sense.

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.

In terms of the organic feel and the love for noises, I definitely feel more connected to Four Tet and Fennesz, as any dance floor artist. I do like some dancey stuff like Martyn when I DJ, but I draw my inspiration from other things.

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

Games isn't really pop music, and neither is OPN. Both are part of the same ecosystem and both deal with exploring the undercurrents of pop music.

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.

When I first started out, I was making really slow, psychedelic ambient music because it was all I could do.

I combine aspects of many styles of music and create my own musical forms by way of electronic instruments.

I am a massive fan of early electronica like Steve Reich, Pat Metheny and Thomas Dolby. I used to be a big raver, too, so anything dance. I love ambient music like Tunng. I love acoustic and classical, too.

I was greatly influenced by musique concrete when I was, like, 10. I was completely mesmerized by the idea that you could make music out of sounds. So that's been a constant influence on all my work.

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.

When I was 14, I heard Otis Redding in a club local to me, and I was blown away. It leaped out at me and went straight to my heart. I set my sights on singing like that.

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

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

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.'

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

I've been listening to a lot of music by Arca.

You will hear ambient in our music. You will hear trip-hop.

I did the first 'Oxygene' on an 8 tracks tape recorder with very few instruments, with no other choice than being minimalist.

I love futurist music.

I've been making Bass Communion music longer than any kind of other music. I don't know if you picked up a copy of a vinyl release I put out a couple of years ago of something called Altamont.

In school, I did a lot of computer work. I'd take splices from Kurt Weill songs and loop them in bars, in beats of seven, trying all different kinds of things.