A Quote by Wayne Static

Pighammer' is what I envisioned the first Static-X record to be; trancier, a bigger electronic vibe with more keyboards. — © Wayne Static
Pighammer' is what I envisioned the first Static-X record to be; trancier, a bigger electronic vibe with more keyboards.
Pighammer' is my pure vision of what I want to do, but at the same time, if you like Static-X, you will love 'Pighammer.'
This 'Pighammer' record is supposed to be a side project. And it just so happens that at the same time I'm recording this record, our contract was up with Warner Bros., so it's time for Static-X to re-sign.
I grew up around electronic instruments. To me, the turntable is an electronic device. At the same time, I had access to drum machines and keyboards through my uncle; then track recorders into computers. At an early age, I was messing with computers more than most hip-hop musicians.
I would like to play with electronic keyboards again.
A big part of making a good record is really getting a vibe, and a vibe is a mysterious thing. The vibe kind of exists in the air in the room. It's not just all the stuff you put on there, and the specific notes and arrangements and all that. That's like half of it. The other half is just the air, and just the spirit.
I wanted to make a reggaeton record. So I sent the record to Ozuna, and he killed it. Then I felt like I wanted to add a more female vibe but still keep some Spanish touch, so I asked Selena and Cardi, and it all came together.
I play keyboards and have played on many a Toto record.
After the 2009 'Cult Of Static' touring cycle ended, I felt that, as a band, Static-X had accomplished everything we set out to accomplish, and now I could finally take the time to do my own thing and make a record that is completely my vision without compromising for anyone or anything.
Throughout my years in From First to Last, I was always dabbling and making electronic music on my own time. The first records I ever owned were crossover electronic rock, like Prodigy, Marilyn Manson and Nine Inch Nails.
In some ways it's hard to see electronic music as a genre because the word "electronic" just refers to how it's made. Hip-hop is electronic music. Most reggae is electronic. Pop is electronic. House music, techno, all these sorts of ostensibly disparate genres are sort of being created with the same equipment.
The spirit of Burzum never changed, but my ability to make music changed dramatically when I was imprisoned. It is more or less impossible to record music in prison, and the only music I could record was electronic music, when I was allowed to have a synthesizer for a few months in 1994 or 1995 and in 1998.
Now you are seeing electronic dance music producers on TV, on talk shows. It's so great to see the festivals growing bigger and bigger, it's like one big family that's all partying with each other. I love being a part of that.
We're happy with what we've achieved. Every record we've made has furthered the growth of our line of success. It's never disappeared or gone backward: each record sells more, each tour is bigger.
The first Garbage record sounds bizarre, it's not a pristine sounding album. We ran everything through stomp boxes and through samplers and that definitely gave it a vibe.
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.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
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