A Quote by Bill Laswell
I think everything's experimental whether you like it or not. I think that people who do generic pop are experimenting with cliches. It's no less than I am experimenting with noise or unknown music - until you say, 'This is my song, or this is my composition' - it's all experimental, whether you like it or not.
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You have to be loose enough so that when you listen to what's coming, you can follow it. In that sense I am improvising, but I don't think I'm experimenting. I have a problem with the whole term "experimental music."
I really dislike when people talk about "experimental," because any good writer is experimental. As a writer, you don't know what the hell you're doing. You're just doing it. You hope it works out well. I've been experimenting with these things myself in my own books.
I do not write experimental music. My experimenting is done before I make the music. Afterwards it is the listener who must experiment.
There was a time when pop music and rock music were really reaching for the stars and were not ashamed to be experimental. You think of a song like 'Shout' by Tears for Fears. That's a massive global No. 1 hit, and yet the subject matter is very dark.
I love to read and teach experimental fiction but yes, neither this work nor my first novel is really that experimental. It uses some experimental techniques but in the end, I would not say that it is experimental. I'm not sure why. I do a lot of writing on my own, and I have always just written this way.
My study is NOT as a climatologist, but from a completely different perspective in
which I am an expert … For decades, as a professional experimental test engineer, I have analyzed experimental data and watched others massage and present data. I became a cynic; My conclusion - 'if someone is aggressively selling a technical product who's merits are dependent on complex experimental data, he is likely lying'. That is true whether the product is an airplane or a Carbon Credit.
I think I'm still trying to be experimental on everything I ever do, but it's not as obviously way-out and experimental as what we were.
The more we do this, the more the audio-drama format is opening up to us in new ways. So I think there's an experimental element, or at least an confidence in experimenting, that's running though our work now - and it wasn't there in the first season.
I've always written pop songs. I tend to take inspiration from more experimental genres, like ambient music, but at the root of the song, it's verse-chorus-verse.
I think pop music is in such an exciting place right now, and I do kind of credit that to Lorde with 'Royals.' I think that song changed everything in the pop scene. All of the sudden, alternative pop music became pop music.
I guess I have some kind of a visceral connection with drums. I'm looking to create music that people can react to viscerally, and people will respond to viscerally. I think that you can listen to music, to a song you've never heard before and not really like it, but also feel like you're responding to it physically whether you like it or not. I think that's a powerful aspect about music, and I think that's something that draws me to drums.
I'd like to actually work with a lot of other people, and whether it's someone who is completely unknown who I love and think is a talent, maybe I'll work with them, or, like, maybe I'll work with some of the biggest pop stars and write music for them.
I believe that experimenting is what production is. But it doesn't mean much if you don't have a solid foundation in what you're experimenting with. You can't really deviate from music unless you know music; it's not gonna work.
When there's no experimenting there's no progress. Stop experimenting and you go backward. If anything goes wrong, experiment until you get to the very bottom of the trouble.
I'm not dark; I'm not. The main thing I consider in accepting a role is less the tone of the movie and more whether I think it's a good film, whether I like the character and whether I think I could do it. I don't think, 'Oh, I've done X amount of dark films.'
In the first quarter of the nineteenth century the experimental proof for the interdependence of the composition and properties of chemical compounds resulted in the theory that they are mutually related, so that like composition governs like properties, and conversely.
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