Layered Sound Quotes

I'd do a demo recording by myself, layering instruments on top of one another, and while that's fun, it doesn't have the same impact as getting some great players together in a great studio with a great engineer and producer, then waiting for the magic.

I like the songs to appear very simple and to flow by without any kind of hiccup, but there has to be this impression of other currents underneath. Like if the songs aren't, on some level, multidimensional, we lose interest in them.

I like the idea of playing in unison with yourself.

The music that I make is built on layers upon layers of musical ideas. I want to keep it fun and fresh to where listeners won't get everything from just one listen. They can go back to it months, weeks, or even years later and hear something that they didn't ever hear before. That's what it's all about.

I like to piece together different guitarists, unlikely bedfellows. You have Jonny Greenwood playing next to Nile Rodgers on the same track, so it becomes like an orchestra of sounds.

I play as many different things - piano, sax and harp parts - as I can at once. Whatever I can fit, whenever I need to.

The thing with Joy Division's music is that each member was playing like a separate line. We hardly ever played together; we all played separately. But when you put it together, it was like the ingredients in a cake.

I love countermelodies, I love hooks and melodies that stick in your head. If I could put 20 melodies in a song and they would all work together, I would.

I love songs with, like, six or seven or eight different things going on at once, and that's just me.

The piano is an instrument that can easily sound overly thick, and I love to think that I can work with textures - particularly the inner textures inside the melody or the bass line. There is an analogy there with painting; I love paintings where you see colour underneath the colour and, underneath that, more texture and shape.

The way Fatboy Slim layers motifs is the same as 18th-century baroque counterpoint. You have an idea, then you have an answer to the idea in another voice, then you have a counter idea accompanying the original idea, and you build up your texture like that. I'm really into Kruder and Dorfmeister at the moment, and they do the same thing.

I think that layers in music, whether it's layers juxtaposing emotions and feelings or layers of texture, make for a more interesting product.

I tend to work in layers. There's a huge orchestra in the film, but I also record a lot things with very intimate groups, and I like to be able to use the textures of those intimate groups.

We stuck the record head so it kept on recording over and over on top of itself and played keyboard notes into it to create this ghost repetition melody.

Radiohead and Our Lady Peace are doing the seven layers of guitar, and I kind of jumped on that before anyone else did.