Roxy Music Quotes
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I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.
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Most game music is based on loops effectively.
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The great benefit of computer sequencers is that they remove the issue of skill, and replace it with the issue of judgement.
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Nearly all the things I do that are of any merit at all start off just being good fun, and I think I'm sort of building up to doing something else quite soon.
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You can't really imagine music without technology.
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I think one of my pursuits over the years is trying to answer the question of, 'What else can you do with a voice other than stand in front of a microphone and sing?'
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I think we're about ready for a new feeling to enter music. I think that will come from the Arabic world.
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Human development thus far has been fueled and guided by the feeling that things could be, and are probably going to be, better.
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Often, I think you find that you're enjoying certain things, you've got this new way of listening, and you find that you really enjoy the way that sounds on it and the way this other thing sounds on it and the way that other thing sounds on it. So, you're finding a new pleasure that you didn't know about before.
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I love good, loud speakers.
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I wish there was a serious investigation into flying saucers that wasn't conducted by crackpots. Unfortunately nearly all of the people who are interested in them kind of manufacture the evidence to fit the theories rather than the other way around. So it's very hard to find any dispassionate treatment of them. Maybe there isn't any scientific basis in which case that's why you never see any scientific evidence.
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Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music - not like a record that you'd put on, which would play for a while and finish.
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All music has political dimensions because it suggests a way of being.
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The biggest crime in England is to rise above your station. It's fine to be a pop star. 'Oh, it's great, lots of fun, aren't they sweet, these pop stars! But to think you have anything to say about how the world should work? What arrogance!'
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Think inside the work - outside the work.
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Since I have always preferred making plans to executing them, I have gravitated towards situations and systems that, once set into operation, could create music with little or no intervention on my part. That is to say, I tend towards the roles of planner and programmer, and then become an audience to the results.
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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.
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The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.
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My shows are not narratives.
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The difficulty of always feeling that you ought to be doing something is that you tend to undervalue the times when you’re apparently doing nothing, and those are very important times.
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I'd love it if American kids were listening to Muslim music.
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When we go out to the country and just sit there, what we're really doing is just switching off various kinds of alertness that we don't have to use. When we do that, we are stopping being defensive. We are no longer shutting ourselves off from different types of experiences, we are welcoming them in.
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I wanted to get rid of the element that had been considered essential in pop music: the voice.
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In the future, you won't buy artists' works; you'll buy software that makes original pieces of 'their' works, or that recreates their way of looking at things. You could buy a Shostakovich box, or you could buy a Brahms box. You might want some Shostakovich slow-movement-like music to be generated. So then you use that box.