Unconventional Sounds Quotes

OPN is completely off the grid. Its like the slime underneath techno and other synth-oriented music.

I've always loved making independent music.

I think there's good music out there. I just think that radio stations don't play it.

We made music that wouldn't be in synch.

Using something that is really painful, generally, as the percussive element for a beat, I think is cool.

If I'm left to my own devices, I will be tempted to make the most unlistenable music possible.

I was left with an urge to make the guitar sound like things it shouldn't be able to sound like.

I guess the cool thing about the '80s is the kind of like adventure in terms of, you know, people were very willing to use sounds that were completely ridiculous or whatever. There was a lot of stuff happening in the '80s and it's all over the place. I guess that's probably the coolest thing for me and that's what I like about it. Just kind of that like, 'Oh, what's this sound? Oh that's wacky. Let's use it anyways.'

I think Thurston's and my weird tunings lent Sonic Youth a very different sound from the get-go. In the band's 30 years - aside from covers - there are maybe two or three songs we wrote using traditional tuning.

The way I approach things is from an experimental folk music standpoint.

Americana Music is about all sorts of different music. It's very free and open: a world where people just like authentic music.

To some degree, yeah, because I have to play a certain number of originals that might be considered avant-garde material. I realize though, that only a few people in the audience actually know what that music is, or understand it.

I get labelled as just being about one thing, but there's lots of layers to what I do. It's just lazy journalism, but people start to accept it. If people spent an hour in my car driving around London and listening to the stuff I listen to, they'd hear some interesting stuff.

Mars Volta was always about embracing what 'too much' was and the excess of it. I never thought there would be an audience for it.

Clams's music to me is where there's no boundaries. It was just exciting for my mind to be as free as Clams's music is.

I wanted to make sounds that I'd never heard before.

Music dissolves the straight and narrow.

I still feel like I have a lot to learn in the realm of sound experimentation, and I think I would like things to get noisier and weirder and more distressed and more aggressive, but I don't know if that's something that would be suitable for public consumption.

In terms of the music, it feels almost like trouble's a good thing - you never know when a song is going to surprise you. We look for these subversive moments in songs.

I associate creativity with independent music.

I like trying to make sounds that are interesting and are a bit weird. I try to make music that captures people's imaginations.

On 'Black Ben Carson,' I had strict no melody thing. I wanted straight, raw, rugged noise music.

I make music with no boundaries.

Hearing things like 'Wake Up' by Lora Logic, or the Raincoats' 'In Love' - that was something I wasn't prepared for. I couldn't hear anything that came before it in the music, and I didn't want to. I was absolutely in love with its out-of-nowhereness.

I'm amazed at how adventurous and how dangerous the music was, and still is. I haven't heard anything like it since. I'm quite surprised, because a lot of the music on there we never heard at the time.