Christian Marclay Quotes

By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.

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

The genius of vinyl is that it allows - commands! - us to put our fingerprints all over that history: to blend and chop and reconfigure it, mock and muse upon it, backspin and skip through it.

I think remixes give songs more life.

When I'm playing with the band or playing with some projects or some of my own stuff it's about the musical approach. That would be the more turntablist approach to things of where it's strictly about music.

Yes, sampling has changed not just my way of playing and composing.

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 like the way remixes sound. Some of them are really creative.

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.

For me, electronic music is like cooking: it's a sensual organic activity where you can mix ingredients.

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'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!

'Sinister' is the first score I've done in which there's no orchestra in it whatsoever. There are traditional instruments I sampled, then manipulated, so you don't even recognize the source anymore.

I'm a painter in sound.

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.

We incorporate various electronic devices - the echo plugs and things like that. Actually, all we're trying to do is make that sound musical. As opposed to just making sounds, we do musical things with them.

Now everybody's sampling.

I am a sound freak. I could play around with sound forever.

Yeah, anybody can go in with two turntables and a microphone or a home studio sampler and a little cassette deck or whatever and make records in their bedrooms.

I really enjoyed the sort of real crazy, eclectic layering stuff and how it all worked together. I could tell it was some of it was derivative of something. I could tell that certain things were being looped around and I just really enjoyed the way that it all came together.

I've always had a fascination about mixing music.

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

I'm not that big a fan of sampling. But I feel like if I'm going to do it, I'm going to do it to where it's more of a reimagining of a track. The songs that I do utilize samples on, most of it you wouldn't even be able to tell what it was unless I told you.

There's individual turntable setups devoted to piano, bass, drums and a set for soloing as well. We like to try and explore the gamut of what a turntable can do.