Yui Mizuno Quotes

I've always tried different stuff in the studio. I use rakes, spoons, cans... I'm a surround-sound type of guy.

'Deconstruction' is a really heavy record, a real symphony in a lot of ways, but with heavy musicians from the metal world - friends of mine.

Babymetal's music is kind of - no one else creates this kind of music. When Babymetal first started, we wanted to give the impression of like, 'What the heck?!'

We're definitely a metal band. We push a lot of boundaries. But at the core we're a metal band.

The music that I make, the younger musicians are referring to it as 'stretch' 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.

The iconoclastic mode, that specific mode of language, there is an element of it that it is punk - that is confrontational. That's just a part of the language of jazz - at a certain point.

I want to work with producers who are unique and have a different sound.

I want to make Grimes a high-fashion sci-fi act.

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

So the ideology was that: use sounds as instruments, as sounds on tape, without the causality. It was no longer a clarinet or a spring or a piano, but a sound with a form, a development, a life of its own.

In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.

Motion Picture Soundtrack on Kid A was another Coltrane inspiration.

I like a lot of metal music. So that's really what I listen to a lot. Or I listen to a lot of kind of off the cuff, like I love artists like Santigold, or Gold Frapp. Yeah. Pelican. Yeah.

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

I'm trying to use people like Meredith Monk and Philip Glass and Terry Riley as the backing tracks for new pop songs. It's really hard trying to use the format and write a pop song on top of avant-garde music, so we'll see. It could be cool, or it could totally flop.

I was using tape loops for dancers and dance production. I had very funky primitive equipment, in fact technology wasn't very good no matter how much money you had.

Anything can become a musical sound. The wind on telegraph wires is a great sound; get it into your machine and play it and it becomes interesting.

I am not doing something that it is experimental music in relation to classical music.

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.

If music was made by some kind of critical theorist, it would sound like my music.

I think of myself as a jungle musician because of my lack of formal training.

Rock and ambient music might as well reside on opposite sides of the galaxy, so it's almost shocking when a band like Deerhunter melds the two so effectively.

For me, a band like Gojira brings something really cool and new to the table.

Every Dirty Projectors album is a world unto itself.