Porter Robinson Quotes

Combining sounds that are from another universe with the classic songwriting structures never gets old for me.

I think the music I've created is quite odd, and people are going to start talking about that.

In many ways I'm an experimental and new music composer that comes from a rural tradition rather than an urban one.

Now, it's almost impossible to go out and do a film about a new form of music.

New music is absolutely integral to classical music.

With Free, we had phased out all of the blues material and wanted to phase in all original material, and the only song that stayed from our blues past was 'The Hunter' by Albert King. People just loved that. And I said, 'We have to write a song that will top that - otherwise, what are we doing here?' That was the birth of 'All Right Now.'

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

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

My music's gonna evolve as I get older.

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.

Rap music is the only vital form of music introduced since punk rock.

Soundgarden are kind of the masters of writing songs that aren't pop cliches.

When I was producing 'Formula Vol. 2,' I knew I needed to come hard with the features and do something I hadn't done with Aventura. Collaborating with Drake was definitely one of those big steps that helped bachata go to the next level.

Sometimes, trying to make a work of art can be very difficult and very painful.

I love 50 Cent. I know it sounds weird 'cause a lot of kids might not say that right now, but I definitely want to work with 50 Cent, Jay-Z, Coldplay: I want to work with different artists that are going to push my music to a new level. Not just in urban music.

Reggeton has changed very much, musically. It has evolved. The artists have also evolved.

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

There's a lot for us to achieve and a lot more music to explore. I'm not saying we want to start doing experimental prog or something, where it turns into elevator music after a few records, but I don't think we've even scratched the surface.

I just wanna make more music, legit music as opposed to keeping the same constant thing. I wanna show growth in the music, pretty much.

I feel like when you listen to music, it's almost like the same thing over and over, but of course as time goes on, rappers evolve, lyrical play evolves.

People looked at me - people still look at me - as 'this is Gucci Mane's producer.' But the music that me and Future put together was so different than what me and Gucci do, it just made people look at the music like, 'Hold on - Zaytoven is the real deal.'

'Blackheart' is purely falling into the electronic world and pushing the envelope.

I've always been very progressive and as much as I play Old World music, I have this progressive tenacity to keep adding futuristic elements in subtle ways where you won't notice.

When you limit the word 'jazz' to one period of history, for the people who love that period, then maybe it can be dead because nobody plays like that anymore. But jazz is progressive music; it always has to progress, and musicians always have to find new landscapes and new ways to speak out, so of course it's always changing.