A Quote by Genesis P-Orridge
All great music is in one way or another psychedelic.
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I'm influenced by the music of the '60s. It's a mishmash of everything. To me, psychedelic can be all the way to a DJ. House music can be very psychedelic. 'Flying Lotus' is very psychedelic. Even though it's urban and technological, it's also mind-expanding, anything-can-go mishmash.
I am surprised by the word psychedelic. João Gilberto Noll does not accept realism in a straightforward way, but I am more inclined to call Quiet Creature a realist text than I am to call it a psychedelic one. The transcendent aspect of the psychedelic experience is totally absent.
The psychedelic experience is the beginning of the spiritual path. That's why it's not important that yogas' claim that they can deliver you the psychedelic experience, because it begins with the psychedelic experience, and then you go from there.
FKA Twigs is stunning. She has beautiful contemporary and unique sound with an almost psychedelic vibe. Her music is great for the runway.
The Beatles, they brought a whole new dimension to pop music. Of course, the psychedelic period is much more interesting to me, starting with 'Rubber Soul' and on to the 'White Album.' Great, great records. I was such a Beatles fan. I was very sad when they broke up.
When we rejoice in beautiful scenery, great art, and great music, it is but the flexing of instincts acquired in another place and another time.
Nowadays, not to say that that doesn't happen, but music is made a lot almost in a laboratory where you get one guy working in one studio, they send the file to another guy in some other part of the world, they send it back and then they send it this way and that way. Musicianship is kind of - there's nothing wrong with that. In fact, some great music is made that way.
It had never occurred to me before that music and thinking are so much alike. In fact you could say music is another way of thinking, or maybe thinking is another kind of music.
I used to wear this cowboy outfit. I wouldn't take off. It was ridiculous. My mum was like, 'You've got to take that off sometime,' and I was like, 'No way, this is it.' It was the '70s - it was turquoise and yellow, really psychedelic colors. I wanted to be a psychedelic cowboy.
My architectural education is way, way incomplete, but if you're in a beautifully designed space, it can change the way you see and the way you feel. The same way great movies and great music can immerse you, so can a space.
I wouldn't say making psychedelic music is my focus. That's not the modus operandi for Tame Impala. It's about making music that moves people.
Music was so important to the culture when I was growing up in the Sixties and Seventies. We just expected that Bob Dylan was going to make a great record, and it was normal. It was like, 'Okay, here's another great record by Bob Dylan; here's another great record by Led Zeppelin.'
With 'Hannibal,' it's almost like the music is part of the furniture, so as a character goes from one room to another room, or we go from one place to another or whatever, the music is just going with it the whole time the same way that the audience is sort of tracking it and following along.
What is always left out of descriptions of the psychedelic state, the deep psychedelic state, is how weird it is.
Music was literally in the air at the time, the Vienna of 1780. Everybody played music, classical music. There were in fact so many musicians that in apartment buildings people had to come up with a schedule - you practice at 5 p.m., I'll practice at 6 p.m. That way the music didn't collide with one another.
There's a great relationship between pop music and the way the body could be seen from the inside - when I was singing or listening to music I would change shape in my head, becoming all kinds of things and people. Music is a way of making your body.
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