A Quote by John Balance
COIL would very much like to see the creation of a newsgroup for minimal musics. We enjoy a wide spectrum of such musics, from La Monte Young, Alvin Lucier, Arvo Part, Nurse With Wound's Solilique For Lilith,The Dream Syndicate (orig.concept not the newer group who plundered the name) to Synus, Earth and so on.and on and on. Some new so called ambient musics fall between genres and so between newsgroups: some of our own music has certainly been deeply inspired by and informed by such musics,from Partch to Subotnic.
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There's a similarity between European and North African folk musics.
Obviously, it's had a huge effect on repetitive music or dance music or house music. Ambient in the last ten years has infiltrated into all those repetitive musics. I don't know what part it plays in pop necessarily but I'm sure there's some connection. But in all the music that deals with experimental repetition, drum and bass, dub, various kinds of house music, there's always been a quality of atmosphere and ambience. I think it's infiltrated that pretty heavily.
Bells are musics laughter.
All over the world, the idea of creating an melange of international musics, it's a very healthy thing.
The blues are the roots and the other musics are the fruits
In New York, I was excited about the music in New York because the only music that I was more or less involved with in the South was either country and western or hillbilly music as we used to call it when I was a kid and, ah, gospel. There was no, there was no in between. And when I got to New York all the other musics that's in the world just came into my head whether it was the classics, jazz, I never knew what jazz was about all, had heard anything about jazz.
When you talk or write or film, you work with the music inside you, the music that formed you. Different generations have different musics in them, so whatever they do, it's going to come out differently, and it will speak in beats of their own generation.
Many people think of me as a modernist, as a radical in music, you know, someone who's always sort of at the avant-garde of musics, but I'm also quite a traditionalist.
If we could ever find that moment, maybe thousands of years from
now, where all the musics of the worlds would be communicating with each other, there would be no more wars, there would be peace.
But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.
Generally, I've got to say that all sounds, musics, noises since conception are bound to have influenced me.
There's always something in most world folk musics that always seems connected; whether it's a bagpipe or a tambura, there's always some sort of drone instrument, and there's always percussion.
So many of the sounds that contemporary composers were trying to create were to be found in the traditional musics of the world. That was encouraging but also little daunting to think that you had to work so hard to be new and yet it was old.
Dubstep didn't invent bass, it just zoned in on it. Bass, to varying depths, is the foundation to most dance musics.
The great musics of the world are great for very similar structural reasons: good melody, good harmony, and a balance of feminine and masculine energy.
The Western musical canon came about not merely by accumulation, but by opposition and subversion, both to the ruling powers on whom composers depended for their livelihoods and to other musics.
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