Roxy Music Quotes
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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 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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Instruments sound interesting, not because of their sound, but because of the relationship a player has with them. Instrumentalists build a rapport with their instruments, which is what you like and respond to.
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The earliest paintings I loved were always the most non-referential paintings you can imagine, by painters such as Mondrian. I was thrilled by them because they didn't refer to anything else. They stood alone, and they were just charged magic objects that did not get their strength from being connected to anything else.
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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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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've discovered this new electronic technique that creates new speech out of stuff that's already there.
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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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I don't want to do free jazz! Because free jazz - which is the musical equivalent of free marketeering - isn't actually free at all. It's just constrained by what your muscles can do.
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For the world to be interesting, you have to be manipulating it all the time.
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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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Perhaps when music has been shouting for so long, a quieter voice seems attractive.
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As struggles go, being an artist isn't that much of one.
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If something is good, you must torture it mercilessly until it is either dead or great.
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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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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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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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With recording, everything changed. The prospect of music being detachable from time and place meant that one could start to think of music as a part of one's furniture. It's an idea that many composers have felt reluctant about because it seemed to them to diminish the importance of music.
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When I went back to England after a year away, the country seemed stuck, dozing in a fairy tale, stifled by the weight of tradition.
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One of the things you do when you make a piece of art is you try to make the world you'd rather be in.
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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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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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Well, there are some things that I just can't get out of my head, and they start to annoy me after a while. Sometimes they're of my own creation, as well - and they're just as annoying. It's not only other people's ear worms that bug me, it's my own, as well.
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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.'