Tink Quotes

If you remix, people want to tap into your sound. If you keep that to yourself, it makes the sound more special.

We are aiming to create a one and only new music genre that exceeds the limits of pop and metal music.

I remember the day I first heard what Timbaland and Aaliyah did - that intersection of her pretty voice and his weird, resonant production. I remember where I was and what I was doing. It was a major situation. We're trying to continue that legacy.

It was just like a dream. I could have ended up with an album that's not all that different from anything else coming out of Nashville. Mutt made the difference. He took these songs, my attitude, my creativity, and colored them in a way that is unique.

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

I met will.i.am in the studio and played him a couple of songs and he liked them. We're similar but there's nobody in my lane doing what I'm doing.

A band like Depeche Mode would go out and record them hitting a trash can with a steel rod or something and recording it. And that would be one of their sounds of the drums. I love the creativeness of that kind of really raw sampling.

I don't think my music's as traditional as people make it out.

When you hear a banjo through stutter edit, it's the coolest thing you ever heard.

Our band was different. We were still playing rock 'n' roll, but we had an entirely different sound: just one guitar, but an organ and a saxophone.

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

Every kid has a laptop; everyone can make music, so in order to stand out, I think it's important to find that sonic identity, I think my sonic identity - and mine is finding these weird sounds that may not necessarily sound that musical, and make them sound musical.

I love truly forward-thinking music, and I'm not even sure I'd describe my work as that, even.

My killer crossover project would be to combine Bjork and Grace Jones with the West Coast rappers and create this massive music. That's, like, one of my dreams.

I love the comparison with Aaliyah and Timbaland, because Aaliyah is a legend, and there is a large cinematic feel to Timbaland's sound, but what I do is different.

The 'Aldous Harding' record isn't easily placed because it wasn't trying to sound like anything. It was quite organic.

If Brian Eno wanted to make a record, I'd definitely clear some time in my calendar. John Cale, too. Those guys consistently make great records, always doing their own thing.

London is a dead duck, as far as innovative new music is concerned, unless you want to have your head blown off with some outrageous, rubbish, pounding dance music.

I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.

There are parts on 'Wind's Poem' that are literal recordings of wind. I had this old sound effects record that I got some wind from and then I figured out that distorted cymbals sound just like wind so I used that a lot.

When 'OK Computer' came out, that was so crazily different from anything that I'd ever heard; it was just amazing.

Remixes are so much fun. For me, it's like this great release of energy. I like producing stuff for myself, but I also enjoy making music that wouldn't really suit my own vibe.

I had T-Pain on one of my singles before anyone really knew of him. I was the first one to put that to life of having T-Pain on the hook.

I love collaborations because they take your music in a different way.

My interests are moving toward both 'sound and music,' not just 'music.' I have been doing lots of field recordings and also collecting lots of strange sounds.