Sonic Identity Quotes

We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.

I worry that the person who thought up Muzak may be thinking up something else.

I think the sophomore curse happens when you change every bit of yourself. Though my hair is blonde now, sonically it's still the same girl; conceptually it's still the same girl.

For me, I always have looked at 'indie' as a term of 'independence.' Never associated a sonic gesture with that in the same way that pop music has always meant 'popular' to me; you know, it didn't define a sound.

At the end of the day, I would like to have the farthest reach in terms of being able to communicate to as many people as possible. So it's not that I enjoy being obscure; it's that I sonically don't want to be situated here or there.

I try to take whatever I can from the songs I grew up listening to, these vibed-out pop numbers, and make them my own in some weird way.

For each film, you try to create a whole world sonically, having a sense of identity through instruments used, or recording techniques.

Diversity is its most consistent characteristic....The characteristics of freely improvised music are established only by the sonic-musical identity of the person or persons playing it.

With Metavoid, I wanted to move forward with the Lustmord sound, rather than recreating past works such as Heresy or Black Stars, I wanted to create a sound that was new, but which was also unmistakably Lustmord. It's for others to decide if I failed or succeeded.

A sound does not view itself as thought, as ought, as needing another sound for its elucidation, as etc.; it has not time for any consideration--it is occupied with the performance of its characteristics: before it has died away it must have made perfectly exact its frequency, its loudness, its length, its overtone structure, the precise morphology of these and of itself.

My ambition is to further create a signature sound, a signature spirit, that makes some kind of contribution to music in general.

I feel that my ear candy is a little different from the ear candy most people are receiving right now.

Every kid has a laptop; everyone can make music, so in order to stand out, I think it's important to find that sonic identity, I think my sonic identity - and mine is finding these weird sounds that may not necessarily sound that musical, and make them sound musical.

Whenever I think about funk music, it has a look - and that's how it sounds.

And then, also, when you're doing something that doesn't sound like anything else on the radio at the time, you almost need to, like, ironclad it to make sure it gets through, you know?

The basic notion was the idea that the loudspeaker should have a voice which was unique and not just an instrument of reproduction, but an instrument unto itself.

What defines someone's music taste is their teens and early 20s. It's that combination of your sexual awakening and the music of the time, it fixes you forever.

It was very important to establish a sound, so that people heard a record on the radio and knew immediately that it was you.

Music is all starting to sound alike in the modern era. Afro-pop sounds exactly like L.A. pop - there's no difference, no ambience, no real resonance.

So often, the singer is the sound of the record. People think they can cover anything, but the whole voice is the thing that's unrepeatable.