Oneohtrix Point Never Quotes

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.

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.

If someone says 'grunge' or 'punk,' you know what the sound is, but if you say 'No Wave,' it's kind of mysterious. That was the most interesting part and should have been the most inspirational thing about it... here's this collective sonic insanity, and none of it sounds anything alike.

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

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

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

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

I was real into Devo, Pavement, Captain Beefheart, and the Jon Spencer Blues Explosion.

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.

When Talking Heads started, we called ourselves Thinking Man's Dance Music.

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

I don't know what the vintage Sonic Youth sound is.

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.

When I was growing up, I was always looking for the most willfully uncommercial music: Whether it was Captain Beefheart or Frank Zappa or King Crimson, that's what attracted me.

It's very schizophrenic because I like a lot of very straight pop, like Small Faces, Stones, Kinks; and on the other hand, I like a lot of avant garde things.

I'm definitely a cult artist.

I kinda learned to sing singing to Echo and the Bunnymen songs and Smiths songs: Morrissey would be a big favorite.

People like Jeff Buckley, the Mars Volta and Bjork made me listen to music differently. You learn the voice is an instrument you can do crazy things with.

Electroclash is good because it's stayed underground.

R Stevie Moore was obviously a huge influence and is still a very big influence in my life.

When Soundgarden formed, we were post-punk - pretty quirky.

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.

The late sixties and early seventies were kind of a breeding ground for exciting new sounds because easy listening and folk were kind of taking over the airwaves. I think it was a natural next step to take that blissful, easy-going sound and strangle the life out of it.

Mars is really different, into art. Lydia Lunch is more energy. James Chance is more commercial in a different way, in funk and jazz. They were all doing original things, trying to create their own sound and music. I think they're all great.