Earth, Wind & Fire was something new. I wanted to bring something innovative to the music. It was out of a desire to create excitement with music that was pleasurable to play and listen to.
A band like Depeche Mode would go out and record them hitting a trash can with a steel rod or something and recording it. And that would be one of their sounds of the drums. I love the creativeness of that kind of really raw sampling.
On the musical side, I always wanted to kind of carry on Pink Floyd's sound. You know, Pink Floyd always had such an original, creative and masterful sound, but there are no new albums. My thought was that there's a way to keep their sound alive.
I like the way remixes sound. Some of them are really creative.
If you can make it sound exciting with a joke drum machine, you know you've got something.
When you hear a banjo through stutter edit, it's the coolest thing you ever heard.
The idea of 'Badlands' was creating a space with sound, which is a really difficult thing to do.
We incorporate various electronic devices - the echo plugs and things like that. Actually, all we're trying to do is make that sound musical. As opposed to just making sounds, we do musical things with them.
The good thing about playing this style that we play, you know, the progressive element of it, is that we can add in different elements of different styles. And that creates a more interesting overall sound.
Working with Timbaland, you know it's not gonna sound like anything else out there today. The sound is very next-level.
You know, as I'm progressing with my sound, I just realize when you got a simple sound with crazy percussion in the beats, it makes it. It kinda shapes my sound when it comes to what makes a Tay Keith beat.
I want it to sound like an orange.
