Roxy Music Quotes
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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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Everything is an experiment until it has a deadline. That gives it a destination, context, and a reason.
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What I would really like to do, if I could have a sort of kingship for a short time and organize the group of my dreams - I would make one group which would be a combination of, say, Parliament and Kraftwerk - put those two together and say, "Make a record." Something that would be an extraordinary combination: the weird physical feeling of Parliament with this strange, rigid stuff over the top of it.
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I like L.A., but I shouldn't live there.
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I always have wanted to know how the whole thing was done, what the process involved. And I don't particularly enjoy that my music is stripped of ancillary details, and it just sort of comes out of this big tap called the Internet like water. I like some of my water to be neatly presented in a bottle. With a label on it.
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I don't do interviews at all when I'm on tour, so this time, on a day off, I'll do that kind of thing a little bit. I don't do big promotion schedules, not when I'm touring.
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Stop thinking about art works as objects, and start thinking about them as triggers for experiences.
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Ambient music is intended to induce calm and a space to think.
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Think inside the work - outside the work.
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John Cage made you realise that there wasn't a thing called noise, it was just music you hadn't appreciated.
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I set up situations that involve abandoning control and finding out what happens.
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Ambient music must be as ignorable as it is interesting.
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I do like Burial; he's so curiously clumsy, you can't help but be moved. It's so un-Hollywood, and the rhythms are so un-danceable.
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Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable sic as it is interesting.
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I love San Francisco and Brighton has something of San Francisco about it. It's by the sea, there's a big gay community, a feeling of people being there because they enjoy their life there.
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You feel as if you're not living a full life. Which, of course, is why - it's my theory about why so many people who are heavily into computers are also into extreme sports and S&M. It's because their bodies are crying out for some kind of action.
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We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That's occasionally what happens. What more often happens is that we settle on some sort of - a few sort of structural ideas, like, "Okay, when I put my finger up, we're all going to move to the extremes of our instruments. So, that means you can only play either very high or very low or both. And we're going to stay there until I take my finger down.
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I think audiences are quite comfortable watching something coming into being.
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But when you get music and words together, that can be a very powerful thing.
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When you make something you are always offering some choices and denying others.
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I take sounds and change them into words.
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I've had quite a few moments I've liked, so it's good enough.
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You can't have a relationship with a device whose limits are unknown to you, because without limits, it keeps becoming something else.
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People always focus on people like me who use synthesizers, right, which are explicitly electronic and therefore obvious. "Ah, yes, that's electronic music." But they don't realize that so is the concept of actually taking a piece of extant music and literally re-collaging it, taking chunks out and changing the dynamics radically and creating new rhythmic structures with echo and all that. That's real electronic music, as far as I'm concerned.