Kevin Parker Quotes

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.

I'm an electronic guy, I'm a freak for electronic music but real instruments, the dynamic range of it, and the emotions, there's no comparison.

I agree with the rest of the band, that a truly synthesized sound isn't really what I would want to go for.

'No Bones' has some reverb that I kick around.

I'm the renegade of funk. I've made house, techno, rock, funk, reggae... That's why I've been on so many different labels.

Ironically I think this is what sparked my interest in and passion for the NOAH, which is capable of creating all these old weird and wonderful sounds.

By the time I got to building synthesizers, I had perhaps 20 years' experience building electronic musical instruments.

I write contemporary rock with Jane's. And I also write house music with people like Kascade.

A lot of the vocal music I've been doing recently has been quite clubby. But that's mainly because I've had more time to go to clubs, and that normally breeds that kind of influence.

A lot of EDM is not bad at all when it's simple, but a lot of it is not really musical. That's just what I really like to do: taking what I had at the beginning, which is classical and jazz influences, and putting it into electro.

I was thinking about working with Lady Gaga, not 'Born This Way' but more her old stuff that she did with RedOne from her first album. I think that would be really fun - a cool combination.

Unless you use the vocoder the way Daft Punk use it, it is very limited. When they sing it's almost human. It sounds sexy. I just used it as an effect. It wasn't because I was not able to sing; I'm not a great singer, but I had some hits as a singer, too. It's a nice effect.

I'd love to do a live album, like a little bit old school but still progressive, influenced maybe by more electronic music. I like everything, but I don't know anything about music. So it comes in to a lot of different ingredients. I love hip hop.

I don't think I represent all things dubstep. I just like clubbing, so those are the sounds I've chosen to work with.

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

When I started making my tracks in the style that people call tropical house, I didn't do it on purpose to make it sound tropical. I made whatever I felt sounded good. I just wanted to make my own thing, and then suddenly people started calling it tropical ... I'm like, 'Yeah, that's probably a good name for it.'

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 normally start at the computer with something really simple like a four-bar loop of a drum sample or a bass line. And then I just start adding layers of synthesizers.

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.

For 'Lonerism,' I really wanted make a non-psychedelic record. That's why the dominant instrument is the synthesiser, but maybe it didn't quite turn out that way.

In 1983, before computers came along, it wasn't easy to do electronic basslines and rhythms.

We got pretty techno on 'Eliminator' and 'Afterburner,' which I enjoyed. I think they're good albums, but we wanted to start using the techno element a little more sparingly.

Moog has been incorporated in a lot of our music. I know RZA has several of those machines. So, it did play a major role in a lot of music we were doing.

You will hear ambient in our music. You will hear trip-hop.

I made hardcore music and that came kind of easy - it was what I knew. But it was a challenge for me to make a big pop tune.