Top 1200 Electronic Music Quotes & Sayings

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.

You're surrounded by electronic music in New York. I mean New York is one of the few places in North America where electronic music is the prevalent form.

My roots in electronic music go from weird glitch music to now what's seen as pop music. Electronic music is pop music now.

Electronic music lends itself to an abstract way of storytelling, so it keeps evolving. Theres a whole movement truly driving music further and there is no other music innovating as much as film music

People from the rock and roll world have felt for years that electronic music had no soul, but now electronic music can not only have soul but have all the shapes in the world.

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.

People don't realize enough how important and influentical John Carpenter has been in electronic music. He did his soundtracks by himself, using mostly electronic and analog synthesizers. He's a cult figure with DJs these days for good reasons.

The good thing, really, is that electronic music started as a fringe subculture, and now it's the biggest youth culture in the world. People pretty much everywhere go crazy for electronic music.

I don't feel that electronic music has to stand on the back of urban artists or anyone else to be recognized. It's great music.

We have always been thinking about different ways to perform electronic music, i.e. music made with machines.

There are a lot of people who wonder why Japan is a pretty consistent influence in my music, and I think it's because the reason I started writing - my intro to electronic music was Japanese music.

I never thought electronic music would get as popular in America as it has. When I first came to Vegas in 2009 for my residency - we were they only people playing electronic music at that time.

Computers and electronic music are not the opposite of the warm human music. It's exactly the same.

If anything, a lot of electronic music is music that no one listens to at home, hardly. It's really only to be heard when everyone's out enjoying it.

The spirit of house music, electronic music, in the beginning was to break the rules, to do things in many different ways.

I'm an electronic guy, I'm a freak for electronic music but real instruments, the dynamic range of it, and the emotions, there's no comparison.

I grew up with classical music, and to a lesser extent electronic music, and that's where I belong, so to speak.

I didn't want my music to be seen as examples of an electronic culture; I just wanted them to be thought of as pieces of music.

Nowadays, especially when you think of electronic music, it's like, the producer is mostly the one who makes the music or the beats and everything. But I am more, since I'm that old, when I started to make music the producer was just sitting in the back shouting and drinking beer.

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.

Being from a background of dance music and what you might call club music or electronic music, I think something that gets neglected in that scene is personal vulnerability.

I'm basically a music nerd, especially when it comes to electronic music.

Rock music is electronic music, dependent entirely on electronic circuitry and amplification.

It is the element I miss in electronic music - no performance, no loving immersion. Maybe that is why I was never particularly drawn to electronic music.

I used to play in rock bands. Then I went to the first school of electronic music in the world. It was in Paris headed by one of the most important people involved in 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.

[David] Bowie went on to make best-selling music - funk, dance music, electronic music, while also being influenced by cabaret and jazz.

The reason I like Steve Aoki is because I can trace my love of electronic music all the way back to when I was listening to not just new wave but to YMO [Yellow Magic Orchestra] which, to me, was the ultimate Japanese band and launched synth electronic music.

Music was segregated in the '80s, and then in the '90s the boundaries started to break down, and rock kids got into electronic music. But then you got this reverse snobbery where people would only listen to electronic music and not rock.

I'm a real big electronic music nut; when I was young I listened to musique concrète, German music from Cologne in the early 50s, all kinds of stuff.

It's very strange how electronic music formatted itself and forgot that its roots are about the surprise, freedom, and the acceptance of every race, gender, and style of music into this big party. Instead, it started to become this electronic lifestyle which also involved the glorification of technology.

People call me a bedroom electronic musician, which I suppose I am. But I hate most electronic music; I find it really boring.

I don't really care what music's made on - I love guitars, but I'm fine with great electronic music.

I'm not sure if music got a future. We have all these electronic ways to download and steal music and get music, but there's no money in makin' music.

I think as this generation of electronic musicians goes on, popular electronic music will be more and more accepted. It's gonna get less confusing. You know, most people called rap stupid when it started, and it was one of the most innovative music forms of its time.

When I was in London I found house music and techno, and I love that s - t. It's my go-to music. It's the closest for me to the old funk of James Brown and the repetitive dance music that I like from the soul music. I'd love to do a live album, like a little bit old school but still progressive, influenced maybe by more electronic music. I like everything, but I don't know anything about music. So it comes in to a lot of different ingredients.

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'm a very optimistic person. I have the chance to listen to so much phenomenal music. Connecting with social networking to create music is a progression of what electronic music does anyway - it connects people.

When I started, DJs weren't in the media, electronic music wasn't in the sales charts and a DJ was the freak in the corner who provided the music while other people had fun. So to do it, you must have been a freak and a music lover.

There are artists that are using computers in all genres - Kendrick Lamar's music is electronic-made, and Taylor Swift is the same thing. There's a lot of pop music, underground music, and music for films made with computers. In that sense, it's not going to go away.

I love music - anything that catches my ears - but it's more about lots of rock 'n' roll and really funky electronic music.

Thank you to BBC6 Music and Something Else for the opportunity to broadcast my corner of electronic and alternative music across the airwaves for the last 6 years. #? RIP6MIX

I've always appreciated having a wide music taste, despite making what a lot of people would call electronic music.

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.

With electronic music it's often a little more hidden - the relationship between gesture and sound - which makes it confounding for audiences. But the ingredients of electronic music are the same ingredients of nonelectronic music.

I love some electronic music. I'm not a big fan of dubstep, but there is so much good electronic music out there.

Everyone's on their phones, and everyone makes things with the aid of some electronic tool. Electronic music is no different.

For me, electronic music is the classical music of the 21st century.

I want to continue to constantly put out great music, expand further and further with the live show and music that is attracting music fans from all over the place, not only for ravers or electronic heads.

What is very interesting when talking about electronic music is that - I would say that rock and roll is called the ethnic music born in America that invaded the world. Electronic music is certainly kind of ethnic music born in countries like Germany and France that has invaded the world.

House music is the root of all electronic dance music.

I had invented my own system, my own way of making electronic music at the San Francisco Tape Music Centre, and I was using what is now referred to as a classical electronic music studio, consisting of tube oscillators and patch bays. There were no mixers or synthesizers. So I managed to figure out how to make the oscillators sing. I used a tape delay system using two tape recorders and stringing the tape between the two tape machines and being able to configure the tracks coming back in different ways.

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.

I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus.

There is nothing wrong in electronic music or synthesised music.

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.

I could create music that sounded as strange as any electronic music, because you see, my opinion about electronic music is that the real composer is the guy who invented the instrument. Pressing buttons is not composing. Composing is about creating something.

Electronic music, for me, has been the only real pioneering music that actually does push boundaries and is constantly futuristic.

It's true that we come from the electronic scene in the '90s, but maybe just two years before that we were not listening to electronic music. We like music in general, and maybe we're more close to the rock energy or the rock aesthetic.

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.