A Quote by Oneohtrix Point Never

The way I think about things or hear things in my head is actually much closer to acoustic instruments. I don't have weird synthesized fantasy of music in my head.
I'm triggering acoustic instruments. I'm literally beating, smacking, hitting, blowing, doing physical things. It's an incredibly exciting way to make music.
My first advice would be to read, read, read, which sounds interesting coming in a digital age, but it's so much easier to listen to a poem than it is to sit down and actually read it and to hear it in your head and that is something that every poet or aspiring poet needs to be able to do, I think to hear it in their head.
All I do is listen to music. It's a weird thing. It's like I have so much catching up to do. I've always been over my head. That's just the way I work best, you know. Like when you're studying for school you think, "I can only study when I have to study the night before." That kind of means you're lazy or you're a procrastinator, but for me with music it's a similar thing. It's like I've been over my head for most of my career so to speak.
I made music on Seven the same way as on the other albums. I only used acoustic instruments... I'm looking for instruments that have vocal sounds, forgotten instruments like the guimbri... The first and second albums were about the voice, what came before. This album is about introducing those sounds into modern, Western life.
Getting things straight in your head is a major achievement because there's so much clutter out there. You've got to push aside the static to really hear the music.
If I get a song - a good song - I just sing it the way I hear it in my head. If anybody else wanted to add whistles and bells and chains rattling, that's fine. Just not too much. I actually just do things as straight ahead as possible.
Music is one of those things that is constantly going in my head all the time. It's sort of like the evolution and creation of doing food, or my philosophy about wine. It's always beating in my head, so it keeps the spirit moving.
One of the album's songs features Mary J. Blige, but I don't want to talk too much about it yet. I think you will hear the music that's been playing in my head when it comes out.
One of the album's songs features Mary J. Blige, but I don't want to talk too much about it yet. I think you will hear the music that's been playing in my head when it comes out
There are places on a man's head that are as hard as a rock. Your head's actually stronger than your body. And you don't have too many instruments up there workin'.
I talk about things in music that I would never talk about with my best friends, which I think seems like a weird thing, but my justification in my head as to why it's okay is because it's cryptic enough and there's enough meat around it to make it all okay and no one can really prove what any of the songs mean.
You might have one thing in your head, but the things you're doing don't really lead down the right road, necessarily. When you're young, you don't want to hear that. You think you can do everything, be all things.
There's very little synthesized sound in the 'Arrival' score. There are a couple of synthesized beats in there, but 99 percent of the sounds in there are acoustic in origin and either played or sung by a musician or a singer and recorded in a room.
When I go into the studio - it [words] has to sound the way I heard it in my head. So that's probably one of the biggest things that separates me when I'm working in the studio - just how I hear certain things.
The way that I write songs is pretty simple. I hear music first, much like you would when you're scoring a film. I usually hear a soundtrack in my head, and after I get that soundtrack, it tells me what it's about, what it feels like, what the emotion is, and the words come after.
My head is full of shifting patterns and polyrhythmic stuff; but I want to use all acoustic instruments and create this kind of tapestry of interlocking lulling parts.
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