Sonic Landscapes 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.

However now we can create a sound that can truly startle someone and in terms of sound effects I think the environment that we are in now has improved dramatically.

Brian Eno records and music became a huge obsession of mine in college, in a way that a pop song can provide solace. I don't know if it's shallow or silly, but it meant so much to me.

My idea is to take the improvisational excitement that takes place with Carnatic music and juxtapose that in different sonic contexts.

Brian Eno records and music got me through. It made me feel like there were other people out there who had the same questions and fears and unhappiness. Particularly those kinds of artists who were writing songs about exactly those things.

I like the fact that music is more abstract.

It's very fun to be the hunter of the sounds. The hunter of the right energy. And it's not really about if every sound is correct; it's more the energy - if it hits you in some way, it doesn't really matter to me if it's not perfect. I'm still very excited while hunting for songs.

I occasionally meet people and they say, 'Oh, I was born to Discreet Music'... They always have very weird eyes, those people.

Radio 3 shows such as 'Between the Ears' also make the kind of podcasts that draw the most from your noise-cancelling headphones. The programme commissions ideas that make adventurous use of sound.

I'm a painter in sound.

I'm not really a knob-twiddler. I always work with an engineer; I'm not super hands-on when it comes to mixing boards and computers. I'm much more about what I'm hearing and what it needs to be like. I deal with songs and ideas and instruments.

I like the idea of a kind of eternal music, but I didn't want it to be eternally repetitive, either. I wanted it to be eternally changing. So I developed two ideas in that way. 'Discreet Music' was like that, and 'Music for Airports.' What you hear on the recordings is a little part of one of those processes working itself out.

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.

I naturally like that dreamy, shoegazey sound on my vocals. A lot of reverb helps, and so do a lot of delay effects on everything.

One of the things I love about music and making beats is making something and watching someone's reaction, knowing you can do something to manipulate the way people move or act.

I like expansive stuff that has a lot of space in it, like some of the early Pink Floyd albums.

For me, music is pure abstraction.

One of the most prevalent and undermentioned genres of music is what is known as noise. You can find it all over the world happening in basements, small venues and even some festivals. Often blown off or belittled by critics, the form for the most part goes unheard and unnoticed.

Brian Eno and Robert Fripp's foray into some artful excursions into some ethereal electric experiments. There was a lot curious activities emerging in London, Amsterdam, and Berlin back then developing some fiercely fuzzy of synth-like effects way outside the norm which really blew the lid off things.

What I wanted to do in rock 'n roll was merge poetry with sonic scapes, and the two people who had contributed so much to that were Jimi Hendrix and Jim Morrison.

For more than 15 years, Mogwai has built a reputation on its monstrous ambitions for rock music.

I consider it a great honor to be part of the dissemination of hearable art.

And I'm always interested when other musicians are trying to discover new worlds of sound.

It's the things that you notice when you're not actually with your instrument that, in fact, become so interesting, and that you - you want to explore, through this tiny tiny surface of a drum.

With NOAH, you can create some stunning, yet original soundscapes. Therefore, as a performance tool, it really comes into its own because you can make one single performance which has a lot of detail.