A Quote by Genesis P-Orridge

I've always felt that all the music I've made is psychedelic, including Throbbing Gristle. — © Genesis P-Orridge
I've always felt that all the music I've made is psychedelic, including Throbbing Gristle.
I grew up listening to bands like the Cure, Joy Division, Cocteau Twins, Dead Can Dance - these are the bands that I actually grew up with, and I always had these things in my taste, too. And I always loved industrial music as well: I listened to Throbbing Gristle, SPK, Cabaret Voltaire. And shoegaze bands like Slowdive and My Bloody Valentine.
It turns out that there's a huge community of African-American musicians whose main influence is Throbbing Gristle.
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 think early on in my career, I was heavily inspired by bands like Throbbing Gristle and Test Dept, and films of David Lynch, for example, where the soundscape plays a very important role in the listening experience.
This is not the colonial empire that somehow he has in his hand. I’ve never felt that from him. I felt that from [George] W [Bush]. I felt that from [Bill] Clinton. I felt that from every American president, including ones I disagreed with, including [Jimmy] Carter. I don’t feel that from President Obama.
I have to listen to music while I'm working. Music is essential. It's at the top of the pyramid for me. I've always felt disappointed in what I've made when I held it up to the music I love. I try not to compare them now.
What I always hoped for out of the psychedelic voyaging was to bring back something. I always felt, and still feel, that that is the attitude with which you should go into these things.
In some way, my fundamental feeling about music is that it's impossible to put a price tag on it. Human beings made music before they made a lot of other things, including tools.
Honestly, I never felt like I wasn't an artist on my own. I always felt like the music I made was mine, whether it was part of a collaboration with people.
What is always left out of descriptions of the psychedelic state, the deep psychedelic state, is how weird it is.
For me, as I was growing up, I studied architecture, I was into music, and I always felt that there was a gap between the things that I loved and consumed and who made them and how they made them.
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.
I always felt that the music sells by itself. The music has always been the successful aspect on my career, and that means that, to me, I can always still stay very focused on music.
I always wanted to make a cover album consisting of obscure psychedelic music from the 1960s - all re-shaped and customized, Ulver style.
At the violet hour, when the eyes and back Turn upward from the desk, when the human engine waits Like a taxi throbbing waiting I Tiresias, though blind, throbbing between two lives.
I think I've always felt as a band and as a musician and a music business person, I've always felt like an outsider, period.
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