Jean-Michel Jarre Quotes

Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music - not like a record that you'd put on, which would play for a while and finish.

The academic area of new music or modern music festivals is not something which attracts me at all.

You can still make music that people love, but there won't be more innovation. I started listening to electronic music a long time ago. But mostly I listen to rap. I think rap is the most interesting.

I'm not likely to forget where I've been and what I've done and learned. I think it's just as important to play new instruments as to play new pieces. The old ones are getting scarcer and the new ones more and more wonderful.

Music, in the past few years... anything singable or understandable is square.

I think the indie-rock world is very creative. They're always looking for something new, and I think of all the instruments we have in the world, the ones that are the most creative and interesting are the electronic ones. There are so many sounds and plug-ins you can use.

Warp was important to Thom about two years ago when he was looking for different sounds.

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

I feel just as passionately about experimental electronic music as I do about folk music.

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.

This is something special. You can attempt to have a kind of non-living music.

I went to the Conservatory of Music in school in Rome.

I'm always looking to create new avenues or new visions of music.

Maybe one day there will finally be an education for electronic music.

I'm also very impressed with the best people in experimental electronic world, like Peta and Eckart Aillers and Finez and Jim O'Rourke and Oren Umbarci and Francesco Lopez. Most of them use the computer as their main instrument.

When I was 12, I went to boarding school, where I discovered the computer, which meant I no longer had to write something down and get someone to play it, I could just type it into the computer and hear it back.

Music history has flowed under the bridges for many years.

To keep creating something with this type of music, you have to take it out of the box.

Well, I think music for kids is never anything but experimental is it?

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 don't think there's ever been any music quite like what we came up with.

Music pulled me like a gravitational force. I entered college as a physics major but left as a Bachelor of Music, a degree with the same practical application as, say, one in the History of Chinese Poetry.

You have got to make new music, that is the way that I look at it anyway.

I actually only started listening to house music around the time I started making it. I got hooked both to making music and to house music.

I worry about being a fogy and just writing for orchestras. Like, really, I should be doing more electronic stuff, I feel. Laptops as part of the orchestra, and installation sound, and speakers.