Flying Lotus Quotes

For me, you say the words 'concept record,' and the first thing I think of is theater or the opera or something.

I always believed that my work should be unfinished in the sense that I encourage people to add their creativity to it, either conceptually or physically. Back in the 1960s, I was calling for 'Unfinished Music,' number one, and number two, with my artwork - I was taking unfinished work into the gallery. And that's how I was looking at it.

I'm jamming 'Black Sabbath Vol. 4' all the time. Zappa's 'Cruising With Ruben & The Jets.' A lot of Gong lately. Some Hawkwind. The Residents' 'Duck Stab' is amazing. Some Fugs. Lots of stuff, man. I'm pretty schizophrenic with records.

I'm just trying to avoid any sort of generic kind of music - I don't want to do generic jazz or fusion.

When 'The Dark Side of the Moon' was a new album in 1973, a friend of mine walked into my room where I was working with a copy in his hand and said, 'You really have to do a play about this album.'

'Close to the Edge' is the album where we first attempted to do the extra-long-form piece of music, having one song taking up the whole side of a piece of vinyl.

I'd like to do a record that doesn't even reference actual places. Because I think it's kind of an open-ended concept. It doesn't have to be taken so literally.

The Lounge Lizards were relating with a tradition and it was like I was playing within a musical context. The guitar playing stood out as being different in some way. That was a real education for me.

My dad was a big Frank Zappa fan, so I remember listening to a lot of Frank Zappa. Girls do not like Frank Zappa.

I had heard Ornette a couple of times, but I didn't really know where he was coming from until we started the record and it was beautiful, Fred. It opened up my mind.

Lightning Bolt and Hella are two bands I listen to, and there's a lot of finger tapping going on there.

The Geezer album, Black Science, had a lot of keyboards and it did not work.

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

But I mean, again, Zappa's far more musical than the Bonzos ever were.

Silver Machine still sounds really modern with all the white noise. It's a bit punky in a way. They were ahead of their time.

The Zombies were really unique - they had elements of jazz and classical music in their songs and songwriting. They had a very, very different sound compared to a lot of their contemporaries at the time.

As a teen, I heard the second Velvet Underground album, 'White Light/White Heat,' and it was too much for my limited scope of appreciation. It was intense, but I didn't get it.

'Beck-Ola' is a weird album.

In the old days, maybe we'd come across Captain Beefheart, buy a record, go, 'This is great!' and notice how his music is evolving, changing, and becoming more complex, more radical. And we would follow that progression and see it reflected in the alternative culture it came from.

I'll never forget when I heard Steve Morse and the Dixie Dregs for the first time. I was just blown away, and it changed my whole approach to guitar.

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 do have my more concept-y albums, and then I have the ones that are more about just collections of songs. For me, the first Dirty Projectors record that I put out was like that: 'The Glad Fact.'

I enjoy Dinosaur for what it is. It's a unique band that has a unique chemistry.

Tame Impala's music revisits a time when guitar effects and studio tricks were music's newest frontiers; when rock was barely old enough to drive and violently threw conventional ideas out the window.

I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.