Dusty Hill Quotes

I like tinkering with the tribe beat boxes and love using Reason as a beefed up beat box.

Musically, I didn't relate to Berlin. There seemed to be a lot of machine music made there - I don't think I saw a stringed instrument in two years.

I love Sylvan Esso. I want to bring in more electronic elements, but also some analogue stuff. Stuff like '70s drum machines really fascinates me.

Blue Monday's distinctive intro was written on an Oberheim DMX drum machine.

My roots in electronic music go from weird glitch music to now what's seen as pop music. Electronic music is pop music now.

I just love crafting and shaping sounds. Actually, many of the sounds that I work with start off as organic instruments - guitar, piano, clarinet, etc. But I do love the rigidity of electronic drums.

There's a confusion sometimes with the laptop being the current tools and where electronic music initially comes from.

Somebody gave me this drum machine and somebody else asked me to program something for a project. I really liked programming and I was really interested in using the drum machine.

I like really sparse electronics, lush arrangements, and interesting chord structures.

Electronic music used pure sounds, completely calibrated. You had to think digitally, as it were, in a way that allowed you to extend serial ideas into other parameters through technology.

I am associated with techno epics.

I have always been far more interested in sound than technique, and how sounds work together, how they can be layered. I think electronic music, in its infancy anyway, allowed us to create music in a way that hadn't really been possible before. It created a new kind of musician.

I had gotten one of the first Korg synthesizers with 300 presets.

I produce electronic kind of music, like EDM kind of stuff.

I was always fascinated particularly with synths: how they looked and stuff that when you're a kid you're like this is the most incredible thing in the world just to play.

Electronic music has existed since the '70s, and it's almost comical how many subgenres of it there are.

The first turning point, when I stopped doing things by myself and the Bastille project began, was the inclusion of more electronic music into the sound.

I made an electronic record in the vein of Cluster. I was programming synthesizers and drum machines and that sort of thing.

I started with the organ and drums, and I later got into drum machines as a teenager.

The sound system influence is undeniable in hip-hop, in jungle, drum and bass, now EDM.

For me, electronic music is like cooking: it's a sensual organic activity where you can mix ingredients.

I became obsessed with Simian Mobile Disco's music and poorly attempted to make my own techno music.

A lot of the early Washed Out material was done on a couple of synthesizers that did most of the work, but that's the great thing about synths - you can recreate sounds or make an entire record with just one piece of gear.

What is very interesting when talking about electronic music is that - I would say that rock and roll is called the ethnic music born in America that invaded the world. Electronic music is certainly kind of ethnic music born in countries like Germany and France that has invaded the world.

In terms of writing more club tracks, writing more electronically influenced - I feel like it was all electronically influenced, but now that influence has come to me in a different way.