A Quote by Krzysztof Penderecki

The isolation of Eastern Europe actually helped me to be so original. I couldn't travel so much, I had to find my own things, such as making the strings sound like electronic music.
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.
Making music is so much more self-motivated. It's my own music. It's my own time. I don't have a team around me that's helped me make everything.
We incorporate various electronic devices - the echo plugs and things like that. Actually, all we're trying to do is make that sound musical. As opposed to just making sounds, we do musical things with them.
In the '60s my friends were interested and we were hearing electronic music coming in on community radio from Europe, so that's where it started. And I had a tape recorder and started making things with it.
Often, everywhere we look, we seem to find obstacles and facades and smokescreens, so it was really nice to find things in the world that actually spoke to me. And I felt like Eastern thought really spoke to me. Because it isn't trying to cover up the pain in life; it's trying to deal with it and overcome it in an intelligent way. I think the reason I love Eastern thought so much, and mysticism in general - but especially Buddhism - is because it seems to me an attempt to look life squarely in the face, as it is.
America and Europe are getting closer to each other. In the U.S. you've always had hip - hop, the blues, soul, and rock. For the last decade, there has always been a lot of electronic music in Europe. When I was just at Coachella, I noticed how the music they play there has become electronic, techno, deep house, more European - so I think it's more similar than before.
Music is a vital part of my life, and it has been since I was a kid. It helped me find my identity as a person, it helped me find my identity as an artist, and it helped me get in touch with emotions that I didn't know I had.
Writing in the electronic world, you imagine a sound, and then you have to go and find it. It's not like imagining a flute and then making that sound materialize. That's easy!
For people familiar with Eastern Europe, Marci Shore's 'The Taste of Ashes' is, in spite of its subject matter, delicious. A professor at Yale with much experience in Eastern Europe, she writes with great sureness of touch, weaving personal recollections with intellectual commentary and ideas with emotions, including her own.
People always focus on people like me who use synthesizers, right, which are explicitly electronic and therefore obvious. "Ah, yes, that's electronic music." But they don't realize that so is the concept of actually taking a piece of extant music and literally re-collaging it, taking chunks out and changing the dynamics radically and creating new rhythmic structures with echo and all that. That's real electronic music, as far as I'm concerned.
The place of electronic music, culturally and socially, is today completely different - it is now everywhere, and it has been totally accepted. Consequently, there is now a younger generation that is more focused on making great electronic music, good parties, and having fun, where there is not any more so much need for cultural and ideological statements in electronic music itself.
I was making more electronic and synth-based music, and when I changed my name, it helped me grow and liberate myself a little bit.
With the violin, for example, one understands culturally that the sound comes from the instrument that can be seen. With electronic music, it is not the same at all. That's why it seemed so important to me, from the beginning of my career, to invent a grammar, a visual vocabulary adapted to electronic music.
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.
Our intention is to develop more subtlety in contemporary electronic sounds. We don't like nostalgic projects. We have disparate interests and many philosophical concerns. In the past 10 years, I have realized music in the classical tradition - I have composed for strings, brass, and electronic, and alp-horn!
I'd call what I do pop music, but it's folky and electronic and it doesn't really sound like much else.
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