Sonic Exploration Quotes

I love the idea of a record containing an entire universe; where the sounds span decades of recording from all over the world and all sorts of different sources.

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.

I love pop music, but I also love noise music, IDM - anything really, I get something out of most kinds of music. I just need to enjoy the process.

The whole background of 'Avian' is rain. I was just playing with textures and realizing you can touch music.

Naturally, underground music often gravitates toward experimentation and the abstract. That's understandable, and more often than not, it feels great to dive into a difficult album and swim a few laps.

'Sol Invictus' works like your basic FNM record: the sequencing is an artful job, hustling you politely through all the gentle, harsh, weird surprises that follow - and then when it's over, you get back on the ride and start over, just like Space Mountain.

All great music is in one way or another psychedelic.

'Some Kind of Monster' is a challenge, and 'Through the Never' is an extension of that. Even the album we made with Lou Reed, it was a challenge.

To me it's all about textures, and that's the side of music that I'm finding really exciting. I feel like it's one of the only parts of music that mankind hasn't fully discovered yet.

Music mirrors where we should go, have gone and can go. Music is an abstraction.

Composing gives me a chance to work in multiple dimensions and helps me pare down my melodies into what is essential. Learning new skills has always energized me and scoring has opened up a world of sonic possibilities.

More than a quarter of a century into the band's career together, it's inspiring to hear Melvins continue to deafen new generations of listeners.

I was really into Black Sabbath, but heavy guitars can really be very limiting, it's a great frequency and it's great fun to listen to but on the other hand, musically you can do a lot more without it.

Music in general is looking for something new overall.

I was left with an urge to make the guitar sound like things it shouldn't be able to sound like.

Sonically, musicians always go above and beyond in our efforts to disrupt radio. It's always about being different. Our radio is never conventional anyway.

There is not one thing that's Beatle music. How can they talk about it like that? What is Beatle music? Walrus or Penny Lane? Which? It's too diverse: I Want to Hold Your Hand or Revolution Number Nine?

I wouldn't say making psychedelic music is my focus. That's not the modus operandi for Tame Impala. It's about making music that moves people.

Tightly embracing guitar effects and tape loops, Mission of Burma made sound an important commodity in rock 'n' roll, and its members carried that tradition into their first album after a 19-year hiatus, 2004's 'ONoffON.'

I guess the cool thing about the '80s is the kind of like adventure in terms of, you know, people were very willing to use sounds that were completely ridiculous or whatever. There was a lot of stuff happening in the '80s and it's all over the place. I guess that's probably the coolest thing for me and that's what I like about it. Just kind of that like, 'Oh, what's this sound? Oh that's wacky. Let's use it anyways.'

Out of doing all that experimentation with sound I decided I wanted to do it with live musicians. To take repetition, take music fragments and make it live. Musicians would be able to play it and create this kind of abstract fabric of sound.

Our songs were not written to be listened to in headphones or on the radio. They were written to be played. All of the little infinite detail that went into the arrangements and giving ourselves lots of breathing room in terms of playing what we wanted to play and using up any ideas that we had - all of those were conceived to be performed.

The goal with a show is to push forward the passion in a visual and sonic way. It all comes out in a trance-like way, fast and pulsating. Then people can go home and think about the lyrics later.

Listening is like running down a mountain on a switchback trail, the sound of surprise generating its own momentum. There’s a punk glee inside the bluegrass craft–and a punk vehemence inside the bluegrass smile.

I took piano lessons when I was a little kid, but even before that, you're singing in the classroom and wherever. Gosh, children are always singing. But I took music lessons, some choir and things like that at school. I learned how to play the guitar when I was about 13... ancient history.