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.
I only discovered electronic music as a teenager and I still love the Prodigy and Massive Attack.
I'm obsessed with the countryside: woods, forests, fields, lakes, mountains. I'm really into folk music and folklore. But more so I'm into electronic music. I'm into bands that have both aspects, like Boards of Canada is a perfect example. You could listen to that type of music running through a woods. It's kind of what I wanted to achieve.
I've been really excited about some new cutting edge electronic music and technology.
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.
If people like electronic music, then great - let that be the next thing. I don't think I ever really will, but there's plenty of records for me to go buy.
In my teenage years I was as addicted to great pop as I was to free jazz, electronic music, and hardcore blues.
Tantric Buddhism is just a collection of things that work by doing them. And sometimes we add new things. We have electronic music; we did not have it in Tibet.
All my favorite artists are downtempo - Portishead, Burial, a lot of 1990s trip-hop. Some people are saying that I'm trying to help with the trip-hop revival that's possibly going on, but I'm not aware of other artists that are necessarily doing that. But if they are, that's fantastic. It's a great medium of electronic music. There's a lot of emotion - it's good for soundtracking a late-night drive.
I love synthesizers and I love electronic music and I love the avant garde and I always want to try and have some kind of element of that in the music. So once the music is put down and recorded, that's when I start to tinker with it using synths.
Electronic music is so weird because trends change so fast.
Up until the rise of electronic music, if you were a musician in Portugal or Germany or Italy or Japan, and you didn't sing in English, you really were limited: You could be successful in the country where people understood your language. The world of electronic music is completely international. You have DJs from Finland making huge records for people in New Zealand, DJs in South Korea making huge records for people in France. By the fact that it doesn't cost anything to make, and that it transcends language, nation it accidentally accomplishes a lot of really remarkable things.
If anything I think we connect to what our parents were listening to when they were our age. I'm listening to a lot of classical and electronic music, like Aphex Twin, non-vocal 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.
I think for a classical musician the goal is the same as an electronic musician. A very good professional classical musician must not think about technique.
People call me a bedroom electronic musician, which I suppose I am. But I hate most electronic music; I find it really boring.
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.
I do it live on tape with a band. It's not like I'm doing electronic music with a laptop.
My big problem is that I don't promote my electronic music very much because it makes my 'normal' fans angry!
We have always been thinking about different ways to perform electronic music, i.e. music made with machines.
In the '60s my friends were interested and we were hearing electronic music coming in on community radio from Europe, so that's where it started. And I had a tape recorder and started making things with it.
My start came with experimental musicians and live bands. I never played with DJ's because it wasn't really the correct fit. It fit in more with someone using a laptop to create their own electronic music. When you're doing music like that, it's hard to get more than 20 people to come to your show.
I grew up with classical music, and to a lesser extent electronic music, and that's where I belong, so to speak.
I am definitely pro-European, even pro-global, and house music and electronic music has developed a network all over the world, between record shops in Berlin, Tokyo, London, Chicago, Minneapolis and L.A. That's really what I feel part of, rather than being French.
I'm definitely not a laptop/midi/abelton guy. But there is a lot of music I like. I really like Bach organ music. I really like Chopin piano music. I really like Wendy Carlo's electronic music. I really like Miles Davis and John Mclaughlin jazz style. So I'm not only an old-school rocker, but I have to admit that I'm going to be listening to The Doors, Rolling Stones, Iggy Pop, David Bowie and Bob Dylan many times a week.
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