A Quote by Oneohtrix Point Never

While I absolutely love a great drummer and get tunnel vision listening to drums at a show, a lot of the time I feel like drum machine-driven music tethers you to a genre.
I don't have perfect pitch. My drums sound like a drummer, not a drum machine.
My dad was a kind of semiprofessional Dixieland-type drummer, and I learned the drums from him. When I was about twelve, we bought our first Ludwig drum set from a pawnshop - a marching-band bass drum, great big tom-toms, and big, deep snare drums.
I try to keep my ear to the streets without sacrificing who I am as an artist. If a song needs a drum machine I'll use a drum machine. If it needs a drummer, I'll use a real drummer.
I genre-hop quite a lot. I love manipulating genre and deconstructing it and making it irrelevant. Genreless music is great because it means you get to write in any genre that you like.
I was listening to a lot of really early house music tracks. Like Chicago house and Detroit. And Marshall Jefferson has a track probably from 1980 - somewhere around there - that doesn't actually have any electronic instruments, no drum machines, nothing. Just a drummer and a piano player and they're playing this house music, but they're actually playing it. I really love that aesthetic and wanted to bring that into the album.
The drum is the heart of music. The saxophone can play and then rest, as can all of them except the drums; the drummer keeps going - he can't afford to stop.
I love playing the drums - I really get a lot out of it - but I don't think I'm a good enough drummer to be playing live drums on all 10 tracks on my album.
I have a method of working on music: I'll get up in the morning and throw down some drums on my drum machine, and then I'll come back later and try to pop off rhythms to it.
It's much easier to have a diversified career as an electronic musician than it is as a drummer. Nothing against drummers. If you're a drummer, you just wait around for people to ask you to play drums. But if you have your own studio and can make music, you have the ability to approach music a lot differently.
It takes a lot of time to be a good junkie or alcoholic - you spend hours getting the necessary supplies, then imbibing, then recovering, rinse and repeat. That's like eighteen hours of a day. And assuming you get out of that lifestyle before it macerates your heart, you have that Junkie Tunnel Vision, except now you get to use it for something positive: you know how to work tirelessly for one thing. Instead of using that tunnel vision to get high, I use it to make art.
F irst and foremost I am a drummer. After that, I'm other things... But I didn't play drums to make money. I played drums because I loved them... My soul is that of a drummer... It came to where I had to make a decision - I was going to be a drummer. Everything else goes now. I play drums. It was a conscious moment in my life when I said the rest of things were getting in the way. I didn't do it to be come rich and famous, I did it because it was the love of my life.
When you're young you want to show people what you can do, no matter what the cost. Whereas when you're older, and you realise that maybe a drum machine is better than you playing, then use the drum machine.
I love pop music, but I feel like the genre is overpopulated - there was so much bubblegum for a while, but I feel like Sam Smith and Ed Sheeran are bringing good, real music back to the radio.
The great thing about television is that you get to tell, like with "The Walking Dead", 16 hours worth of character-driven storytelling in less time than it takes to make a feature film. So, it really is a medium at least for storytellers who are passionate about not only the genre but also the character-driven genre stories. It's probably a better medium.
As a composer I approached the drums differently than a non-composing drummer. I embraced drum machines.
I don't want people to think that I think I'm this great drummer because, to me, I'm just a kid playing drums, and I love music.
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