Music Manipulation Quotes

There's this weird game called 'Blueberry Garden.' For that game an artist recorded some piano music, but evidently he only had a really terrible microphone on top of the piano, and I really liked it and wanted to experiment with that. So, I made piano recording and really mangled it, and kept experimenting with the technique.

I'm taking a lot of freestyle music and flipping it.

The easiest way to get laid by a girl, or get rid of her, is to write a song about her.

In the past, my process would start with a sample of another song, and I'd chop it up and use that as the basis of the song that I was making.

RADIO IS DEAD. The once-bright star that was public broadcasting has been destroyed by greed and corproate muscle to the point that even the music that is completely repugnant is positioned to be popular.

All the Public Enemy albums, I knew what records they were sampling but was like, 'How'd they construct it like this?!'

Technology has made it much easier to make and manipulate music. Studio-driven, machine-driven music does not always transcend into being a good live act. Many current acts are great live, but many cannot cut it live. The music is not organic.

Playing a room, it's a real dictator-type situation - you can really move the crowd the way you want to. In a festival, there's a sea of people, and it's harder to lock in on any one group.

People don't understand how long it really takes to find beats. Sometimes they're not all the way there, but it's elements in them I love. Then I get to take them to get chopped up. Ye got to cook over a few of them.

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

Reworking other tracks is also quite cool.

I remixed a remix, it was back to normal.

People always focus on people like me who use synthesizers, right, which are explicitly electronic and therefore obvious. "Ah, yes, that's electronic music." But they don't realize that so is the concept of actually taking a piece of extant music and literally re-collaging it, taking chunks out and changing the dynamics radically and creating new rhythmic structures with echo and all that. That's real electronic music, as far as I'm concerned.

It'd be cool to chipmunk-ize 'The Virgin Suicides' soundtrack. All this ethereal French music, I think that would be unique to listen to.

You could make any song sound creepy if you wanted. It's all about the inflection.

Pop music is created by repression - and then the system takes it and makes even more money with it!

I hate how things must be classified. How this is applied to musicians implies that they somehow contrive their products and have studied the demographics of the audience.

Music is liquid. It's meant to be messed with and played with and stretched and pulled and pushed, I think.

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.

There's a lot of trickery that can go on in the studio, and there's a lot that one can do - none of which I am interested in even slightly. I mean, you can actually tune vocals and stuff like that, but it's so hideous, I can't believe it.

Time in our universe is always one way: no going back, no reverse. In music, you can reverse it!

I've done a lot of movies that don't have any music in them, and I've always sort of had a kind of wary attitude about music because it can be so manipulative, and also because with pop music, I feel like everybody kind of has their own relationship to songs.

When I listen to the radio, I just hear so much music that doesn't even sound like people. The vocals are all tuned, and the drums are all fake.

It's cool to play the guitar, but to me it's even cooler to scratch a guitar backward and forward, to manipulate it with a turntable. Guitars can't do that themselves.

But I'm just having fun playing and giving Botox injections to the older songs.