It's a very subjective, personal, instinctive approach as musicians of saying, 'We don't want to replace what's around; we just want to widen the possibilities.'
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Everyone making electronic music has the same tool kits and templates. You listen, and you feel like it can be done on an iPad. If everybody knows all the tricks, it's no more magic.
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Usually, a band 20 years into its existence doesn't put out its best records.
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'SNL' is this part of American culture with a certain timelessness to it.
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The concept of the robot encapsulates both aspects of technology. On one hand it's cool, it's fun, it's healthy, it's sexy, it's stylish. On the other hand it's terrifying, it's alienating, it's addictive, and it's scary. That has been the subject of much science-fiction literature.
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In the history of pop music, a lot of great records cost an enormous amount of money. There used to be a time where people that had means to experiment would do it, you know?
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Skrillex has been successful because he has a recognizable sound: You hear a dubstep song: even if it's not him, you think it's him.
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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.
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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.