Oneohtrix Point Never Quotes
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I'm super into dudes like Megazord, Jon Rafman, Rasmus Emanuel Svensson, Tabor Robak, and Michael Willis to name a few.
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Games isn't really pop music, and neither is OPN. Both are part of the same ecosystem and both deal with exploring the undercurrents of pop music.
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I'm basically like a dad; I've always been a dad.
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Generally my response to seeing something really symmetrical and perfect is... it's the scene with Jack Nicholson's Joker in the first 'Batman,' the museum scene. Him just spray-painting the Mona Lisa, and whatever, with his goons.
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It's not like I actually understand the properties of sound.
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My friend and I were in a band together and we used to always refer it it as 'floor-core,' meaning that we would sit on the floor and play stuff.
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OPN is completely off the grid. Its like the slime underneath techno and other synth-oriented music.
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I'm not a scientist.
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All my collaborators unilaterally said that I need to just stay on one idea for longer. And of course I understand that. I like to switch gears a lot, and I like this kind of sloppy attitude.
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When you're working in service to a big project, there's always the question of, 'Is there total freedom to do what I think is right artistically, or is this a job?' It's okay for things to be a job. I'm perfectly comfortable working. I don't need to sit around and quench whatever personal artistic thirst I have at all times.
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For so many people, it's very hard to feel okay with success, because success is not cool. It supposedly tarnishes your thing; it ruins little pockets of scenes and the self-importance that comes from thinking you're the only people in your town that are doing something.
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The subject is missing from 'Replica' - it's about malleability of materials, and working with metaphor, and sculpting in time. So that makes a collaboration with another person who pushes sound in a sculptural way appealing, because you're like, 'Let's see what dimensionality is introduced from this other perspective that I might not have.'
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I love thinking of music of this way to access some kind of illogical realm filled with all kinds of aberrations and weird stuff. It's not implicit in music to have a story, so it creates this incredible potential for vague stories.
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I need weird breakages to happen for music to feel true to life, and I think that also applies to good film scores.
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There would not be Skaters or Emeralds or any of these bands if it weren't for Double Leopards.
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I don't think I could make a good film, but I could definitely score a good film.
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I saw Double Leopards play at my school and realized there were other ways to approach noisy music that weren't necessarily aggressive. That became a very important concept for me as a musician. I don't think I would have been that interested in creating and performing my own music if it wasn't for this group.
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The thing that I've always been a little bit jealous of is a complete, a total giving to one form, like a genre, and just a mastery of it. My thing is very different. It's a complete embrace of something, but I've never been able to say, 'I believe in this.' The only thing I believe in is that I'm in this perpetual state of disbelief.
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The dumber the thing is, the more excitement I get from imagining a very complex world of truth around it.
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Games is like hardwired plumbing in the house of pop. It's not pop itself, its sort of like the behind-the-scenes arteries and capillaries of pop music.
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I realize that I've had Ian Van Dahl: 'Castles in the Sky,' the Ibiza jam, periodically stuck in my head for years, like years of my life. Every now and then 'Castles in the Sky' will just happen. Maybe that's some sort of indication that it's actually my favorite song of all time.
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That's a problem I have a lot of the time with humor in music, where it just kind of stops at the obvious level of: 'Hey, isn't it something that's in bad taste?'
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I was always screwing around with music, but I really wanted to go to film school when I was in high school. I guess what happened was that I didn't get into Tisch, that's what happened. I got deferred. And I went to Hampsire and ended up making music like everybody else there.