Klaus Schulze Quotes

I tried to embrace the concept of the sampler as an instrument, looking at how to take it artistically to another place where it can be appreciated, more than just taking someone's song and doing a 4-bar loop.

I write all of my songs from scratch, so the one thing I love about EDM is the way a song transforms into a piece of art, and how the different sounds can change the feel of the record.

I don't do that much sampling. I create all my own sounds.

At the beginning of this album I discovered the computer and had great fun playing with the thing. And I realized that, not being a good keyboard player, I could write things in very small sections, give them a certain feel and mess about with bends on the keyboard.

One always has to remember these days where the garbage pail is, because it's so easy to make sounds, and to put sounds together into something that appears to be music, but it's just as hard as it always was to make good music.

I've wanted to do it for years, but every attempt at it has turned into another tune. We have actually taken a different approach, we're doing a lot of sampling - we're even sampling bits of Flash!

With Dollars And Cents on the album, we had it as a band jam and I sometimes spend evenings playing with records over the top of things we were working on to see what works.

You can get so many sounds out of one record. Every record can be used in some way.

Writing in the electronic world, you imagine a sound, and then you have to go and find it. It's not like imagining a flute and then making that sound materialize. That's easy!

I find it hard to get excited by just a sound. I have to have a song there, then I'll find what used I can make of that sound within the song.

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.

Blending tracks and weaving and manipulating prerecorded music to create this mood, some people do it much better than others.

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

I happen to think that computers are the most important thing to happen to musicians since the invention of cat-gut which was a long time ago.

Sometimes I listen to music and I wonder how did they get certain sounds.

With '5 Boroughs,' we were each working on beats, sitting in front of our laptops and samplers.

When I write for an album, I'll always have about 30 different types of instrument around me. I set them up in a small room with my computer running GarageBand, which is always set to record.

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 think I compose as a listener: improvising and listening back excites me because I get to ideas that never would have occurred. Then I bring in the computers and samplers... and I begin to loop and process and change them.

I think that first and foremost, a lot of turntable artists end up using really the same sounds over and over, and they really get recycled.

I think making electronic music isn't much different from writing a book or painting a picture or making a film. It's a creative process, and it's an art form.

When I do a remix, I try to think about what I don't have in my bag and create something to fill that gap.

When I hear something new, mostly in rhythms, I often find it interesting to recreate it in a studio in a completely different way.

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.

I've been gearing up for this future of writing a lot of new music by digging into my favorite old stuff, and twisting it around and highlighting the things I really love.