A Quote by Alva Noto
I made a lot of different experiments with tapes at that time, until I finally realized around 1995, that sound is an interesting subject for me. Ever since then sound got more and more integrated into my art works, musically as well as physically.
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I imagine that as contemporary music goes on changing in the way that I'm changing it what will be done is to more and more completely liberate sounds from abstract ideas about them and more and more exactly to let them be physically uniquely themselves. This means for me: knowing more and more not what I think a sound is but what it actually is in all of its acoustical details and then letting this sound exist, itself, changing in a changing sonorous environment.
When we sit in meditation and hear a sound, we think, 'Oh, that sound's bothering me.' If we see it like this, we suffer. But if we investigate a little deeper, we see that the sound is simply sound. If we understand like this, then there's nothing more to it. We leave it be. The sound is just sound, why should you go and grab it? You see that actually it was you who went out and disturbed the sound.
When I do a record, it sounds more punk and raw. Or it will sound louder, or it will sound more shocking. Or mind-boggling. I'll be trying to figure it out, but once I've got it figured out I'll be like, I know this; I know where this came from. I think art is most interesting when the intention is not clear.
And then he pressed into her. First his thighs, then his middle, his chest, and finally his mouth. She made a whimpering sound, but its definition was unclear even to her, until she realized that her arms had gone around him instinctually, and that she was clutching his back, his shoulders, her hands restless and greedy for the feel of him. He kissed her openmouthed, using his tongue, and when she kissed back, she felt the hum that vibrated deep inside his chest. It was the kind of hungry sound she hadn’t heard in a long time. Masculine and carnal, it thrilled and aroused her.
Grimly, she realized that clocks don't make a sound that even remotely resembles ticking, tocking. It was more the sound of a hammer, upside down, hacking methodically at the earth. It was the sound of a grave.
It's funny, but to me, when you go to a concert hall and hear electronic pieces from the '60s, I think they sound really dated. But when an orchestra plays a piece from that period, and it's going to sound different every time, it feels more modern to me.
Having a band was part of my heart's desire, musically. Within myself, I was saying that, 'Not until you have a band for yourself can you maintain the standard of your songs,' and the sound become a foundation. You don't have to feel around for two or three weeks for the sound because the foundation is already built.
When the OutKast sound changed and I started producing my own records, I would mirror what I thought that character doing that music would look like. As the sound got a little wilder, freakier and funkier, so did the clothes. Then when the sound got more sophisticated, the clothes changed again.
Well, things hold up even if they sound dated. It can be very difficult to listen to 80s pop songs with really, really gigantic smashed drum sounds. You just want to turn that gated reverb down on the snare. It sounds wrong now. It sounds amateurish. And ugly. But at the time it sounded state-of-the-art. So yeah, I think it's important not to sound state-of-the-art in a way that anybody else is going to sound. Or you'll quickly sound like yesterday's state-of-the-art.
I do experiment with lots of different genres. In making music, I don't think of genre like, "I want to do this, because I'm going use that country music sound; I'm going use that hip-hop sound; I'm going use that acoustic [sound]." It's just making music. So now that I've traveled a lot more since I did Acoustic Soul, I'm sure that different sounds will come into place, because I have been exposed to it and I like it. But it's not so much of a conscience effort. It's mind and spirited. You know, we're humans.
A lot of that I base on, "Is it still going to sound interesting and fresh to me in five years, am I going to be embarrassed by this in five years?" It's easier for me to do stark, moody, pretty stuff, and I have all this pop stuff inside me, but it's a lot more dangerous, and pop is just apt to sound contrived and sort of pedestrian if you're not careful.
turns me on so loud it's like no sound, everybody yelling at me hands over their ears from behind a glass wall, faces working around in talk circles but no sound from the mouths. my sound soaks up all other sound.
I always went in with a very specific idea of the sound I wanted, and once I'd recorded I'd try and make it sell as much as I could, but I only went in thinking of a sound I wanted. So, it's no surprise to me that he got the hit and I didn't. But what I realized was that he did dress it up nicely, and my god, he does sing on key well.
Melodies can be good depending on the context. You can have a simple melody, and if the harmony behind it is interesting, it can make a very simple melody really different. You can also have a complex melody. The more complex it is, the harder it is to sing, and then sometimes it can sound contrived. You could write a melody that would be fine on a saxophone but if you give it to a singer, it can sound raunchy.
Singing in Hindi is nice but restrictive. Regional languages are more rhythmic, have a different tone and sound, making it more interesting.
And then as we played more and more as a trio, it became more and more of a situation where we realized we really knew how to use the fourth member of the group - that space. The thing about the trio is that it's the biggest sound you can have with the smallest unit.
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