Weyes Blood Quotes

I come from a background of experimental music which mingled real sounds together with musical sounds.

I played a guitar with a file, and a synthesizer.

I wanted to find a bridge between Musique Concrete, electro-acoustic music, and proper rock music.

I have no interest in making music that's built for an antique shop.

I was greatly influenced by musique concrete when I was, like, 10. I was completely mesmerized by the idea that you could make music out of sounds. So that's been a constant influence on all my work.

I probably went to musique concrete concerts - though not the very first ones - at the beginning of the 50s.

Pan Sonic sound like they are playing music of the future made with the electric instruments of yesterday.

In school, I did a lot of computer work. I'd take splices from Kurt Weill songs and loop them in bars, in beats of seven, trying all different kinds of things.

I was doing the Klaus Schulze noise-kid thing before it became interesting to people.

I'd often use a Leslie cabinet on its own in the studio because everyone in the late Sixties and Seventies was experimenting with them. We'd stick anything through a Leslie because it made everything sound so good.

We wanted to be like Radiohead. When they started experimenting with electronic music, it gave us the idea that it might be a cool idea to do.

There's something in glitchy music that I like to get lost in.

I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.

Clipping is a very specific, concept-y thing. We have all these rules: we don't sample drums. We create all our own sounds. I don't speak in the first person. We come from a background of experimental music like John Cage... Philip Glass.

At the time, 'Oxygene' was considered a totally 'far out' concept... What was 'in' at the time was disco, hard-rock, and the early days of punk... and moreover, 'Oxygene' was instrumental. And I was French!

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 want to keep Flume kind of experimental, weird, melodic, pretty.

The 11-minute 'Colouring of Pigeons' takes The Knife's experimental, cerebral side to new heights.

My killer crossover project would be to combine Bjork and Grace Jones with the West Coast rappers and create this massive music. That's, like, one of my dreams.

I've always wanted to be a PC Music girl, like Hannah Diamond or SOPHIE.

I think my music is a little shocking to some people because my voice is very traditional-sounding, and my music is not.

Music doesn't have to sit within the confines of pop structure, you can really make stuff that's more visual.

It turns out that there's a huge community of African-American musicians whose main influence is Throbbing Gristle.

Bjork's album, 'Homogenic,' it's got beats, strings, traditional Icelandic stuff. That's my benchmark for what an album should sound like, right up there with Coltrane's 'A Love Supreme' and Marvin Gaye's 'What's Going On.'

I guess you could call my music progressive, pop, rock.