Roxy Music Quotes
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I trust my taste. I trust it completely and I always have done, and I've always thought it isn't that different from everybody else's.
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I cant duplicate my own successes, because part of the creation of that effect is making something happen that you didn't expect.
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As struggles go, being an artist isn't that much of one.
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I'm always interested in what you can do with technology that people haven't thought of doing yet.
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A part of me has become immortal, out of my control.
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If you grow up in a very strong religion like Catholicism you certainly cultivate in yourself a certain taste for the intensity of ideas.
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The problem with improvisation is, of course, that everyone just slips into their comfort zone and does sort of the easy thing to do, the most obvious thing to do with your instrument.
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I've discovered this new electronic technique that creates new speech out of stuff that's already there.
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Classical - perhaps I should say 'orchestral' - music is so digital, so cut up, rhythmically, pitchwise and in terms of the roles of the musicians. It's all in little boxes. The reason you get child prodigies in chess, arithmetic, and classical composition is that they are all worlds of discontinuous, parceled-up possibilities.
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I've noticed a terrible thing, which is I will agree to anything if it's far enough in the future.
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You can hear the profile of a sound, in retrospect, so much more clearly than you did at the time. And I think one of the things that's going to be nauseatingly characteristic about so much music of now is its glossy production values and its griddedness, the tightness of the way everything is locked together.
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You become acutely aware, if you're touring a lot, that you need new songs to invigorate the live show. And make it interesting for yourself, too.
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The point about melody and beat and lyric is that they exist to engage you in a very particular way. They want to occupy your attention.
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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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I want to make something that is breathtaking. Of course, you can't make something that is always breathtaking, or you would never be able to breathe. You would collapse.
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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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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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Any constraint is part of the skeleton that you build the composition on - including your own incompetence.
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Most game music is based on loops effectively.
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If something is good, you must torture it mercilessly until it is either dead or great.
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When our governments want to sell us a course of action, they do it by making sure it's the only thing on the agenda, the only thing everyone's talking about. And they pre-load the ensuing discussion with highly selected images, devious and prejudicial language, dubious linkages, weak or false 'intelligence' and selected 'leaks.'
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My lyrics are generated by various peculiar processes. Very random and similar to automatic writing.
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A way to make new music is to imagine looking back at the past from a future and imagine music that could have existed but didn't. Like East African free jazz, which as far as I know does not exist.
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For the world to be interesting, you have to be manipulating it all the time.