“We’ve been having that happen a little bit with orchestral stuff, too, a couple scores we recently did. The intention was just dropping some Spitfire strings to mock-up something and then when it’s time to do it for real, after you’ve spent a fuck-load of money and add 1,000 people in and an orchestrator and Continue reading

“I was never interested in repeating, extending or improving one certain production methods. Even though I value artists who follow this strategy, it never became a perspective for myself. The concept of a rapid, erratic and jumpy biography attracts me much more. You should risk breaks in style–especially as an already established artist.” “Mostly it’s Continue reading

“Sometimes I don’t like thinking, this part has to be exactly four bars, and so forth. Sometimes I’ll hit the record button and just go, ignoring the metronome and just doing whatever. I’ll improvise for five minutes and condense that into a song.” Loraine James database. Continue reading

“I kind of see [arrangement] as a bit of a story with repeating phrases. And every time you tell the phrase again you’re telling it in a slightly different way so it feels like you’re getting to know the story deeper and deeper and deeper. I like to do that by repeating sections but when Continue reading

“I started implementing AI in my sequencing aspect of the sound because I found it fascinating that with techno we have both very primitive-sounding results where it’s really drum-driven, loopy, and tends to trigger a primitive aspect of our human condition. But at the same time it’s exploring technology to a very extreme extent. The Continue reading

“I would split [Harold Budd’s] piano signal into four or five different frequency bands, so everything equivalent to the lower string of a bass guitar would be put onto one track of the tape, then the next frequency band that is equal to the human voice range would be put onto another. I would make Continue reading

“I didn’t want to do a nostalgic thing but those sorts of sounds, I really love them, I really love a bad accordion synth, it sounds really beautiful in a way, or a really shitty choir preset can sound lovely.” “I wanted to use these sounds in a way that wasn’t nostalgic. But they have Continue reading

“I’m a miracle man–things happen which I don’t plan, I’ve never planned anything…Whatsoever I do, I want [the recording studio] to be an instant action object, instant reaction subject. Instant input, instant output.” Lee ‘Scratch’ Perry database. Continue reading