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Squarepusher Inspirational Quotes (26)

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I'm basically a musician.
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Stereotyping and generating brands around musicians I think contributes to their eventual demise.
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If it's a language you don't understand and you're not concerned with the meanings of the words, your impression comes from how the words look, particularly if the language uses different characters.
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I didn't want to try and borrow kudos from Indonesian culture. I was trying to get a fresh perspective on these instruments. I'm not doing a Paul Simon Gracelands and stealing all this African music and not give anyone any credit.
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I’m not that interested in what people make of it, or how people consider me. That’s nothing to do with me.
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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.
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But I don't really listen to much be-bop at all at the moment.
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Because, when I'm making music, I don't think about anything, you know? All I think about is what I want to hear. So that for me is what I want - I want my head to be constantly being rearranged.
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I've never really been that much of a fan of Ninja Tune.
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I love traveling. I love just going about on my own, feeling I have no roots.
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I'm into music for all different sorts of purposes.
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People have often assumed that for music to be emotionally powerful it has to come directly from a human hand, whereas I disagree with that, and enjoy proving these people wrong. This project is an excellent way of exploring that area more.
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There's a really rough and relatively consistent hierarchy of concerns. My musical interests come first and principally my fascination with how notes and rhythms interlock. Then comes the technical side like programming, instruments and designing instruments. Next is production and mixing and beyond that I start to care less.
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Your responsibility as an artist is to experiment.
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What happens in the studio is technically the same thing that happens on the stage. In the past I had to make quite brutal adaptations of the material to make it work on stage. I don't always like doing that because sometimes you're shaving away the things that you actually quite like about them, the spontaneity of it.
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I don't know how many records I'm selling.
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I’ve started thinking about pure electronic music again. Something very melodic, very aggressive.
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I'm starting to play all the melodies with kind of keyboard sound but playing it from the bass guitar.
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One of the more dispiriting things I think about endless touring is hearing the same piece of music over and over again and I end up feeling like a fraud.
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I think the best way is to forget about racing people and just find territory that's fresh.
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One of those things that I find hard to dispose of is my attitude to album sequencing, the layout of the pieces.
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My history is really playing live - not writing or recording.
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The only way to find that territory is trying to keep your mind constantly open. That's the only way that you're ever going to see the sort of signs of where to go.
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My plan is if you come to the shows in the first run of dates the versions you'll hear live are quite close to the record. But because I can set this up identically afterwards in a hotel room I can actually work when I'm on the move. The aim is that all the pieces will have had substantial remixes and different parts added and subtracted.
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