Noise Rock Quotes

I've been into Sonic Youth since junior high school. I think I kind of have ADD, so it's good music for ADD because it just throws you in different directions all the time. I really like Kim Gordon's voice and Thurston Moore's voice, and I like the guitars going off on tangents.

Obviously, Sonic Youth has been a huge part of my life for many, many years, and I love all those guys dearly.

We were like psychedelic folk combined with Sonic Youth's noise.

A lot of what I've done as Nine Inch Nails has been governed by fear. I was trying to keep the songs in a framework that was tough, and I learnt a lot from Jesus and Mary Chain about how to bury nice pop songs in unlistenable noise - the idea being if you can get behind that wall, you find there's a pearl inside.

I don't know what the vintage Sonic Youth sound is.

Justin Broadrick's career isn't widely celebrated, but it's still shockingly uncompromising. From his place at the beginning of grindcore with Napalm Death to his role in Godflesh's expansion of industrial metal, the U.K. musician specializes in artistic hairpin turns.

Nine Inch Nails' sound is dominated by clanging synths and sardonic, shrieking vocals.

Things that excite me are these four different bands: Wire, with a song called 'Champs,' Misfits, with a song called 'Hybrid Moments,' R. Stevie Moore, and Wipers 'Wait A Minute.'

If I had a good scream, like Frank Black, I'd be doing punk music, 'cos I love that.

As a teen, I heard the second Velvet Underground album, 'White Light/White Heat,' and it was too much for my limited scope of appreciation. It was intense, but I didn't get it.

Sonic Youth could never really get it together acoustically - quite frankly, it wasn't something we were really that interested in.

Sonic Youth was not a singer-songwriter band. It was an electric collective. And, whatever else people's perceptions of Sonic Youth were, it was always about putting together a time-based composition - and that is exactly what songwriting is, in its classic form.

Between the Dinosaur Jr. albums and his recent solo albums, 'Several Shades of Why' and 'Heavy Blanket,' J Mascis is emerging as one of the last men from all that '80s indie madness, still writing songs that you want to listen to over and over.

I consider the Stooges to be pop music.

Eric's Trip is still a huge influence on me. The style of those recordings and the rawness of them is very inspiring. And the density of the distorted parts, amazing.

A lot of power-pop comes out of LA, a lot of speed metal comes out of New York.

One of the things that make Liars so fascinating after five albums, each one so completely different from the others, is that even though they play around with all the classic tropes of art-damaged angst-noise perv-rock, they exude a totally cheery and boyish enthusiasm onstage, goofing around with their keyboards and beatboxes.

I'm talking about noise rock. I don't think that noise rock element belongs in jazz. It's not for me anyway; it just doesn't fit.

In terms of rock and roll, I'm often drawn to louder, rougher stuff; maybe that's my history as a punk rock wannabee showing itself! Honestly, though, I'm not one of those people who listens to music constantly. I really love silence.

Sonic Youth is one of my favorite bands.