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It's not the destination that matters. It's the change of scene.
In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.
If you're in a forest, the quality of the echo is very strange because echoes back off so many surfaces of all those trees that you get this strange, itchy ricochet effect.
If you watch any good player, they're using different parts of their body and working with instruments that respond to those movements. They're moving in many dimensions at once.
If you want to make someone feel emotion, you have to make them let go. Listening to something is an act of surrender.
If I had a stock of fabulous sounds I would just always use them. I wouldn't bother to find new ones.
I've discovered this new electronic technique that creates new speech out of stuff that's already there.
I'm very good with technology, I always have been, and with machines in general. They seem not threatening like other people find them, but a source of fun and amusement.
I'm not interested in possible complexities. I regard song structure as a graph paper.
I wanted to get rid of the element that had been considered essential in pop music: the voice.
I thought it was magic to be able to catch something identically on tape and then be able to play around with it, run it backwards; I thought that was great for years.
I think generally playing live is a crap idea. So much of stage work is the presentation of personality, and I've never been interested in that.
I take sounds and change them into words.
Being A Mom
I Love You
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