A Quote by Jean-Michel Jarre
With the violin, for example, one understands culturally that the sound comes from the instrument that can be seen. With electronic music, it is not the same at all. That's why it seemed so important to me, from the beginning of my career, to invent a grammar, a visual vocabulary adapted to electronic music.
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In some ways it's hard to see electronic music as a genre because the word "electronic" just refers to how it's made. Hip-hop is electronic music. Most reggae is electronic. Pop is electronic. House music, techno, all these sorts of ostensibly disparate genres are sort of being created with the same equipment.
With electronic music it's often a little more hidden - the relationship between gesture and sound - which makes it confounding for audiences. But the ingredients of electronic music are the same ingredients of nonelectronic music.
The place of electronic music, culturally and socially, is today completely different - it is now everywhere, and it has been totally accepted. Consequently, there is now a younger generation that is more focused on making great electronic music, good parties, and having fun, where there is not any more so much need for cultural and ideological statements in electronic music itself.
I'm trying to fly the flag for the days of electronic music where people who are making it are also building the gear because that was what was happening in the very early days of electronic music. And that spirit is one of the things that really appeals to me about electronic music so I'm putting this forward as a way to keep that.
I could create music that sounded as strange as any electronic music, because you see, my opinion about electronic music is that the real composer is the guy who invented the instrument. Pressing buttons is not composing. Composing is about creating something.
It is the element I miss in electronic music - no performance, no loving immersion. Maybe that is why I was never particularly drawn to electronic music.
I used to play in rock bands. Then I went to the first school of electronic music in the world. It was in Paris headed by one of the most important people involved in electronic music.
My roots in electronic music go from weird glitch music to now what's seen as pop music. Electronic music is pop music now.
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.
Violin for me is a great instrument because you can use it as a rhythmical instrument and also as a melodic instrument. ... You can pretty much do everything with the violin. Sometimes I feel classical music limits the violin.
I love some electronic music. I'm not a big fan of dubstep, but there is so much good electronic music out there.
Rock music is electronic music, dependent entirely on electronic circuitry and amplification.
The reason I like Steve Aoki is because I can trace my love of electronic music all the way back to when I was listening to not just new wave but to YMO [Yellow Magic Orchestra] which, to me, was the ultimate Japanese band and launched synth electronic music.
I never thought electronic music would get as popular in America as it has. When I first came to Vegas in 2009 for my residency - we were they only people playing electronic music at that time.
I think that the audience intuitively understands the idea of sampling and remixing stories. That's why electronic music is global.
The good thing, really, is that electronic music started as a fringe subculture, and now it's the biggest youth culture in the world. People pretty much everywhere go crazy for electronic music.
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