A Quote by Kevin Parker

With 'Innerspeaker' I was trying to do these hypnotic '60s grooves, but it was so hypnotic and repetitive that they sounded like they were sampled. It was making electronic sampled music but using real instruments to do it.
I actually really liked the music to the 'Friday the 13th' Nintendo game. I still listen to it all the time. I sampled it in a couple records, too. It's hypnotic and dark but also really pretty.
Finger-picking, in general, is a hypnotic thing. I feel like I'm more A.D.D. all the time, so the music has to be hypnotic.
I've always had a deep passion for a lot of early electronic and sampled music.
I've been sampled at least 71 times. Me, James Brown and George Clinton, we're the ones who've been sampled the most.
I'll always work with Stones Throw, but I'm trying to start my own label to release my old material and sign new artists. I want to do everything from rock, to jazz, to electronic, to noise records and movie sound tracks. Both sampled and original music.
Frank [Zappa] always wanted to do a sound library - he sampled so many great musicians. For piano, for example, he sampled every octave, not just one (that you could just transpose electronically), and he did all different types of attack, with and without pedals, all that kind of stuff.
At that time, 73 and 74, I became aware that there were a number of us making instruments. Max Eastley was a good friend and he was making instruments, Paul Burwell and I were making instruments, Evan Parker was making instruments, and we knew Hugh Davies, who was a real pioneer of these amplified instruments.
What playing solo has reminded me is how much I love electronic music and how much I love dance music. I'd like to move towards something more hypnotic and rhythmic rather than song-based.
I know people who have sampled gospel music, and then they go to clear the sample, and it's like, 'You can't take the Lord's music and make this.'
Back in the day, we sampled Portishead on Nocturnal, that song "Proud" we sampled Portishead. And we used to have the [Dummy] album, 'cause Da Beatminerz put me onto the album. I had the album, every time I played it, I had this dude like, "Yo man." He thought I was so ill 'cause I listened to Portishead. "You're different, man."
'Sinister' is the first score I've done in which there's no orchestra in it whatsoever. There are traditional instruments I sampled, then manipulated, so you don't even recognize the source anymore.
So to me, what the drugs and addiction are saying is that I deserve to feel good, I'm allowed to take this because look how I was treated as a child. Our authority figures, particularly our parents are hypnotic. Their words are hypnotic literally to small children because of brain wave patterns.
I'm an electronic guy, I'm a freak for electronic music but real instruments, the dynamic range of it, and the emotions, there's no comparison.
For a long time in the 1970s, I was experimenting to build musical instruments and use them. I did a lot of ethnic music studies and other things, like electronic music. Making homemade musical instruments and performing was my major activity from the time.
I could create music that sounded as strange as any electronic music, because you see, my opinion about electronic music is that the real composer is the guy who invented the instrument. Pressing buttons is not composing. Composing is about creating something.
I'm trying to fly the flag for the days of electronic music where people who are making it are also building the gear because that was what was happening in the very early days of electronic music. And that spirit is one of the things that really appeals to me about electronic music so I'm putting this forward as a way to keep that.
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