Jean-Michel Jarre Quotes

The Weeknd's 'Can't Feel My Face' is very experimental. It's pop meets urban meets indie meets alternative.

We are aiming to create a one and only new music genre that exceeds the limits of pop and metal music.

It's perhaps easier to say what prog rock isn't than what it is: it's not three-minute pop songs, it's not straightforward rock, metal, blues or jazz, but can have elements of all them and more. It's a form that is on the boundaries of many different forms, that is open to all sorts of influences.

I'm this strange kind of fusion of jazz, pop, and R&B.

Parallels between classical and pop are not new. The whole San Francisco movement of John Cage and Terry Riley went hand in glove with what the Velvet Underground were doing.

In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.

I think the thing I've always tried to do is - and I didn't plan it, it just started to come out that way - is try to make challenging music that flirts with accessibility.

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

I'm trying to use people like Meredith Monk and Philip Glass and Terry Riley as the backing tracks for new pop songs. It's really hard trying to use the format and write a pop song on top of avant-garde music, so we'll see. It could be cool, or it could totally flop.

Mars is really different, into art. Lydia Lunch is more energy. James Chance is more commercial in a different way, in funk and jazz. They were all doing original things, trying to create their own sound and music. I think they're all great.

I have a very pop voice, but there's so much of me I associate mostly with urban music, so I try to blend the two.

PC Music is a really post-modern attempt at pop.

Rock and ambient music might as well reside on opposite sides of the galaxy, so it's almost shocking when a band like Deerhunter melds the two so effectively.

I thought it would be interesting to play classical music on rock instruments.

My whole life, I've always had one foot in the classical world and one foot in the rock, pop, and folk world.

For more than 10 years, Daniel Snaith has been playing mad scientist with pop and psychedelic music. As Manitoba, and more recently as Caribou, he's pushed the genres' limits with electronics and studio trickery.

'The Whale' was in the category of so-called serious music, and yet it brings together a wide series of musical styles. It was influenced by people such as The Beatles, the spirit of the times, and I think 'The Whale' certainly had a pop element to it.

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

I'm no Robert Christgau or Chuck Klosterman, but I would say that Landlady is like if Harry Nilsson was produced by Brian Eno. Or, if David Byrne fronted Wilco. Those are my two hoity-toity musical epigrams.

I had this instrument that I built in high school. It was a huge, six-foot-long stringed instrument, and I started playing with that amplified and singing through power electronic stuff. I played those shows, and it would blow the lid off of everybody, and everybody would flip out.

Stylistically, things are becoming cooler. People are trying different things and combining genres.

I hope our sound has introduced pop fans to classic and vice versa.

People usually call me for experimental songs.

When 'OK Computer' came out, that was so crazily different from anything that I'd ever heard; it was just amazing.

She was a performance artist calling herself Lady Gaga, who had a European dance-club sound and pop-star aspirations - elements that historically haven't mixed.