Drum and Bass Quotes

Throughout my years in From First to Last, I was always dabbling and making electronic music on my own time. The first records I ever owned were crossover electronic rock, like Prodigy, Marilyn Manson and Nine Inch Nails.

I learned to MC over drum 'n' bass music.

Where I grew up, there was only one CD shop, and I didn't really like school, so we'd register, then bunk off, and we would be round my mate's house making drum-and-bass mix tapes.

The music industry isn't converging toward dance music. Dance music is dance music. It's been around since disco - and way before disco. But there's different versions of dance music.

I'm really into, like, electric pop music and dubstep, things like that.

You're surrounded by electronic music in New York. I mean New York is one of the few places in North America where electronic music is the prevalent form.

I play a lot of hard, uncompromising dance music; it can be anything from dance to rock to reggae.

I just love a slow groove. I feel so comfortable in it. But I listen to a lot of fast music, a lot of techno and house.

Amon Tobin has been producing electronic music since the mid-'90s, and was a key figure in the rise of drum-and-bass. He's also written some of the genre's most compelling tracks, in the process delving into jazzy breakbeats and bass lines.

There's a couple of tracks on the new record which is sort of using similar sort of rhythms as the drum and bass tracks but playing it all live. It's a new approach to it.

I love pop music. I love drum and bass, Calvin Harris, all these electronic things, but it's nice to have something organic as well.

I'll listen to pretty much anything good, but I probably listen to more "electronic" music than anything else.

I like a lot of electronica. I like older jazz rather than newer.

I grew up on the pirate radio scene which started out as drum 'n' bass music. U.K. garage picked up and got bigger on the back end of that.

I've always been good about interfacing with machines. But that never seemed like a gateway to being able to make music. I never made the connection that music could be made with machines - that was what drum and bass was for me.

Obviously, it's had a huge effect on repetitive music or dance music or house music. Ambient in the last ten years has infiltrated into all those repetitive musics. I don't know what part it plays in pop necessarily but I'm sure there's some connection. But in all the music that deals with experimental repetition, drum and bass, dub, various kinds of house music, there's always been a quality of atmosphere and ambience. I think it's infiltrated that pretty heavily.

I got heavily into the drum-and-bass scene, which is really wicked.

When I was 15, I wanted to be a jungle MC. Everybody I knew wanted to be Stevie Hyper D or Skibadee or whatever.

In all the music that deals with experimental repetition, drum and bass, dub, various kinds of house music, there's always been a quality of atmosphere and ambience.

I actually get a metallic taste in my mouth when I think about electric music.

I've never really been that much of a fan of Ninja Tune.

I don't want to make an album which is full of brutal and jarring techno.

I don't know nothing about no jungle and bass.

Bristol is known for having quite a good success rate of music - Massive Attack and Portishead, that drum and bass, dance music scene. I never listened to that stuff when I was a kid, but my parents did, and my parents knew some of those people.

I'm more akin to things like Sigur Ros, Mogwai, possibly. But when I'm making solo electronic music, techno stuff is just the most exciting form of rhythm.