A Quote by Kaskade

It's interesting: in the late '80s, there was this really random mix of new wave, industrial, and these early house records. And a lot of it was coming out of Chicago because of Wax Trax! So I always visited Wax Trax Records.
I still remember the time when I visited the wax museum in London. While there were statues of many sports personalities, including that of Sachin Tendulkar, I didn't see a wax figure of any hockey player. I was a little disappointed at that time, and I hoped that one day, at least in India, someone would make a wax statue of a hockey player.
I'm not a blood and guts person. I remember seeing 'House of Wax' as a teenager in 3D. This was years ago, the original 'House of Wax', and that was scary enough for me that I thought I'd never see another one.
I started buying records in the 80s. I listened to everything new wave, disco, funk synth-pop, rock, but in my house we were listening to bossa nova, tango, and folk.
That's what records do: represent a compressed, heightened version of the sound. Because of the compression of the tubes and microphones and the wax, it's magic!
I'm not a fan of plastic surgery. Oh, and I've never had a wax in my life. Waxing makes no sense to me because you have to grow it out to wax it.
It was a really interesting time in New York in the late 70s and early 80s, and the music scene was really, really interesting because you didn't have to be a virtuoso to make music, it was more about your desire to express things.
'House of Wax' is a remake, but 'House of Wax' is very different. It's like a background concept, but it's a completely different story.
My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.
I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.
I grew up on listening to, like, Mantronix and BDP and EPMD and Kool G Rap and Ultramag and Public Enemy and Fat Boys and Run DMC and a lot of those early records, those Rubin-era records. Those were always snare- and stab-heavy records.
Actually, [Wax] said, we came here because we needed someplace safe to think for a few hours." Ranette: "Your mansion isn't safe?" Wax: "My butler failed to poison me, then tried to shoot me, then set off an explosive in my study" Ranette: "Huh.... You need to screen these people better, Wax.
I really like the last three Luna records a whole lot, especially 'Penthouse.' I think of all the records I've done, that's my favorite. I don't know why, really. I don't know why some records turn out better than others. It's not a science.
Well, it's like that myth about the hero. He made wings out of wax so he could fly, but when he got too close to the Sun, to God, the wax melted and he crashed to the ground.
I think I heard it [ Ferris Bueller's Day Off ] earlier. This was being played on a station in San Francisco called Live 105, which was a new wave station. It was one of the first stations to change its format in the early '80s. There was this wave of really strange music coming from Europe like Kraftwork and Freur.
I inherited this collection of vinyl records, which at that time numbered 6,000, and I've since continued to collect music. As you know, vinyl records can be very heavy, so every time I have to move into a new house, I need to build a complete new wall of shelves to put all these records, which is a nightmare for the architect.
Being a guy who was a geek with tape machines in the early days and really interested in how records get made, I was inspired in particular by how the Beatles were innovating when they were making those records late in their career while using the studio in a maximal way.
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