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I'm a really good hacker, but I'm not a sensible person.

Aphex Twin

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Aphex Twin
Age: 53
Born: 1971
Born: August 18
Club Dj
Composer
Disc Jockey
Electronic Musician
Music Producer
Musician
Limerick City
Richard David James
Richard D. James
The Dice Man
Soit-P.P.
Blue Calx
Q-Chastic
Phonic Boy on Dope
PBoD
GAK
Polygon Window
Bradley Strider
Caustic Window
AFX
Power-Pill
Person
Really
Good
Hacker
Hackers
Sensible
Persons

More quotes by Aphex Twin

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If you've got a stick hitting a drum and you're programming it on a computer, it's so much more interesting than a sample playing back - it's something in the air, that's the magical ingredient.
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It always sounds more right to me when it's detuned. When it's right in tune, it's like there's something slightly off. But at the end of the day, it's all about frequencies and what they do to you. That's the real core.
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In America, it's quite admirable if someone's done well or been successful at whatever it is. Whereas in Britain, they're not. They only like it when you're the underdog.
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Because I've been making music and releasing it for so long, I've got that production-line thing in my brain: I can't do anything new until the last one's out.
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Sometimes I just hit the keyboard in a way I'd like the rhythm of the tracks to sound.
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Can't really despise people you don't know.
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The holy grail for a music fan is to hear music from another planet, which has not been influenced by us whatsoever. Or, even better, from lots of different planets. The closest we got to that was before the Internet, when people didn't know of each other's existence. Now, that doesn't really happen.
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When I look at commercial studios, I think, Oh, they're all so nice and tidy, but it's because they don't actually write music in them.
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The best artists are people who don't consider themselves artists, and the people who do are usually the most pretentious and annoying. They've got their priorities wrong. They're just doing it to be artists rather than because they want to do it.
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I've always got to change something. All the tracks I've done in the last five years were made in like six different studios. It gets a bit complicated.
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It's quite similar to guitar solos, only with programming you have to use your brain. The most important thing is that it should have some emotional effect on me, rather than just, 'Oh, that's really clever.'
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When you get new rules that work, you're changing the physiology of your brain. And then your brain has to reconfigure itself in order to deal with it.
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The holy grail for a music fan, I think, is to hear music from another planet, which has not been influenced by us whatsoever.
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Well, I just bought a massive bank and I've moved into it on my own.
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It sounds really arrogant, but my music's my favourite music ever. I prefer it to anyone else's.
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My filing system's really crap because I can never decide whether to sort things by studio, or year, or where I lived.
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If you hear a C-major chord with an equal temperament, you've heard it a million times before and your brain accepts it. But if you hear a chord that you've never heard before, you're like, huh.
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I'm a quite erratic person: From setups to actually when I'm doing a track, it's just turning and switching and changing all the time.
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A lot of composers before me have been on this mission to change the world by getting off equal temperament, and I'm definitely one of those.
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If it takes you three years to set up a studio, and you've made one track with that setup, then the logical thing to do is not change anything and just do another one using the same set of sounds.
Aphex Twin