Quotes of All Topics . Occasions . Authors
We have always been thinking about different ways to perform electronic music, i.e. music made with machines.
No one worries about genre when they're dancing. They're not asking themselves, 'Is this song a dubstep song?'
Technology is an interesting subject, people thinking: how much good, and how much bad, does it inherently carry?
It's not about what the equipment does, it's about what you can do through that equipment. That's where the soul is.
it's more interesting for me to stick things out anonymously. You get more of an honest reaction to what you've done.
I used to love jungle. I still think it's the ultimate genre, really, because the people making it weren't musicians.
My filing system's really crap because I can never decide whether to sort things by studio, or year, or where I lived.
There's a confusion sometimes with the laptop being the current tools and where electronic music initially comes from.
Fantasy is hard to do when it comes to making it look good compared to something that's a documentary or hyper-realism.
It's really funny, because if you make up words, then people project their own meanings onto it, which I find interesting.
It's only interesting when you're from somewhere else, like America or Japan. The further away the more interesting it is.
The spirit of house music, electronic music, in the beginning was to break the rules, to do things in many different ways.
It's strange - some directors are really talented but they can be so precious when it comes to letting you be a part of it.
Synths are a very low level of artificial intelligence. Whereas you have a Stradivarius that will live for a thousand years.
The holy grail for a music fan, I think, is to hear music from another planet, which has not been influenced by us whatsoever.
You don't always need the absolute latest gear. Find your piece(s) of equipment and let time evolve your ideas with that setup.
Allowing the computer to do one thing is only boring if you don't use the time that the computer saves you to do something else.
Skrillex has been successful because he has a recognizable sound: You hear a dubstep song: even if it's not him, you think it's him.
I'm a quite erratic person: From setups to actually when I'm doing a track, it's just turning and switching and changing all the time.
When I look at commercial studios, I think, "Oh, they're all so nice and tidy," but it's because they don't actually write music in them.
When you look at C-3PO and Darth Vader and then look at the actors behind them, you can't really make the connection. It kills the magic.
There is a lot of music out there that you can play side by side and you can't hear the personality - that has a timeline on it, for sure.
A lot of composers before me have been on this mission to change the world by getting off equal temperament, and I'm definitely one of those.
I remember when I was a kid, I would watch 'Superman', and I was super into the feeling of knowing that Clark Kent is Superman and no one knows.
That's just globalization. It's got good sides as well. But scenes aren't allowed to develop on their own anymore. Everyone knows about everything.
The only secret to being in control is to have it in the beginning. Retaining control is still hard, but obtaining control is virtually impossible.
Sometimes a song can take up to a year to write, and because I waited that year and waited to work on it that day, it came up that extra 50 percent.
Initially, electronic music was anti-establishment, as punk rock and rock n' roll were. The music was shut down; the police were against the parties.
Chord progression is progression of emotions; storytelling - taking one person from one mood to the next. We are doing the same thing within a DJ set.
When you get new rules that work, you're changing the physiology of your brain. And then your brain has to reconfigure itself in order to deal with it.
I've always got to change something. All the tracks I've done in the last five years were made in like six different studios. It gets a bit complicated.
Because I've been making music and releasing it for so long, I've got that production-line thing in my brain: I can't do anything new until the last one's out.
We're genuinely happy if some musicians of this younger generation are influenced by our music, as we were ourselves influenced 10 years ago by older musicians.
It's a very subjective, personal, instinctive approach as musicians of saying, 'We don't want to replace what's around; we just want to widen the possibilities.'
Artists are overcompensating with this aggressive, energetic, hyperstimulating music - it's like someone shaking you. But it can't move people on an emotional level.
America is a new country, and maybe patriotism helps Americans create unity, since it is a melting pot. But nationalism in Europe has a strong history, as you may know.
I'm just some irritating, lying, ginger kid from Cornwall who should have been locked up in some youth detention centre. I just managed to escape and blag it into music.
There's something in human performance that is very smooth and very fluid, and at the same time it can be very precise, and that can take a lot of time, trial and error.
In America, it's quite admirable if someone's done well or been successful at whatever it is. Whereas in Britain, they're not. They only like it when you're the underdog.
Forget all the equipment, forget the music, at the end of the day it's just literally frequencies and their effects on your brain. That's what's everyone's essentially after.
In the history of pop music, a lot of great records cost an enormous amount of money. There used to be a time where people that had means to experiment would do it, you know?
I was never really a DJ... I just kinda figured it all out at once as I started to tour. I was making music and producing and I just had to start to DJ as I got more into touring.
Bringing a direct connection between ENTER. and MINUS, Maceo Plex delivers his CONJURE TWO EP that represents both the stripped down sound of MINUS and the atmosphere of ENTER.Ibiza!
Everyone making electronic music has the same tool kits and templates. You listen, and you feel like it can be done on an iPad. If everybody knows all the tricks, it's no more magic.
I think phone cases will always be novelties, but there's always so many interesting phone cases I like phone cases and I think the sillier the better - but this is a cool take on it.
You can't rely on the fact that people know you. At Glastonbury, when they all knew I was DJing, everyone was cheering even though they'd never heard some of the tracks I was playing before.
If you've got a stick hitting a drum and you're programming it on a computer, it's so much more interesting than a sample playing back - it's something in the air, that's the magical ingredient.
If you hear a C-major chord with an equal temperament, you've heard it a million times before and your brain accepts it. But if you hear a chord that you've never heard before, you're like, "huh."
If it takes you three years to set up a studio, and you've made one track with that setup, then the logical thing to do is not change anything and just do another one using the same set of sounds.
It’s very strange how electronic music formatted itself and forgot that its roots are about the surprise, freedom, and the acceptance of every race, gender, and style of music into this big party.