A Quote by Vladimir Nabokov
I have no ear for music. When I attend a concert, I endeavor gamely to follow the sequence and relationship of sounds but cannot keep it up for more than a few minutes. Visual impressions, reflections of hands in lacquered wood, a diligent bald spot over a fiddle, take over, and soon I am bored beyond measure by the motions of the musicians.
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A lot of times I use live musicians, but I don't want it to have that live funky sound so I'll just take the best loop of a drum part and repeat it over and over and over again so that there's consistency and it feels a little bit more programmed. But I have a love/hate relationship with comping as well.
Money is part of the game, but let's take this music as musicians to the next level, don't be recycling beats over and over and over again.
Success is created through the performance of a few small daily disciplines that stack up over time to produce achievements far beyond anything you could of ever planned for. Failure, on the other hand, is just as easy to slip into. Failure's is nothing more than the inevitable outcome of a few small acts of daily neglect performed consistently over time so that they take you past the point of no return.
I try to influence this improvisation in two ways. One is by centering on reflections, in both senses of the word: acoustic reflections as well as visual reflections from a mirror or surface, and then reflecting on the material in a contemplative way. The other influence is listening to the tails of the sounds that you make.
When you're listening to radio and hear the same 20 songs over and over and over, you want a break from it. Sometimes you don't want to hear something that sounds just like everything else on the radio. Eventually, if you hear the same sounds and the same musicians and the same mixes and all of that, it will start to sound like elevator music.
Of course, I was a little concerned about it being over two hours [in "Aquarius" ]. "Neighboring Sounds" was two hours and eleven minutes. This is two hours and twenty-five minutes, and I did try bringing it down. For instance, I considered cutting out the sequence with the family looking at pictures.
Musicians tend to get bored playing the same thing over and over, so I think it's natural to experiment.
Sometimes Thomas Mackee will stick an earphone into my ear and ask me to listen to a song. When I get over the revulsion of putting something in my ear that's been in his, I sit back and let the music take over, and for a half hour there's something comforting about someone's heart beating at the same rhythm as mine.
I get easily bored, so it's better for me to be a session player rather than playing the same music over and over again.
I think a lot of electronic musicians are drawn to starting with texture because the whole reason we're working with electronics is to try to create new sounds or sounds that cannot be created acoustically. When you're doing that, it's nice to be able to just create a different palette for every single song. I feel like a lot of electronic music sounds like...Each album sounds like a compilation more than it does a band.
A lot of people ask me where music is going today. I think it's going in short phrases. If you listen, anybody with an ear can hear that. Music is always changing. It changes because of the times and the technology that's available, the material that things are made of, like plastic cars instead of steel. So when you hear an accident today it sounds different, not all the metal colliding like it was in the forties and fifties. Musicians pick up sounds and incorporate that into their playing, so the music that they make will be different.
Dynamic change is always my favorite thing. As soon as I feel like I'm doing all of the same stuff over and over again, I'm bored and sad.
I am constantly amazed at the musicians that are able to do the same thing over and over for 20 or more years. That would drive me absolutely insane.
One of the reasons why I think virtual reality, as a narrative format, is never going to go beyond the short-form immersion space is because the bedrock of visual storytelling is the reverse angle. If you can't look into the eyes of the protagonist, you cannot hold people's attention for more than 15 minutes.
Soon as I could play one guitar chord and laid my ear upon that wood, I was gone. My soul was sold. Music was everything from then on.
Vietnam, we take over by doing pedicure! That's how we take over. We take over one foot at a time, damn it - that's the plan of attack right there. We take over from the toe up, that's the plan. We spread over USA like fungus from the toe.
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