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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.
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
Making
Releasing
Anything
Production
Music
Productions
Thing
Line
Long
Lines
Brain
Lasts
Last
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Well, I just bought a massive bank and I've moved into it on my own.
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In Britain, it's good for me to be anonymous, because they just think it's a nobody. Who is this guy?
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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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I'm a really good hacker, but I'm not a sensible person.
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I actually prefer it if I don't know what I'm supposed to do. If you've got an equal temperament piano keyboard, then you know what you're going to get if you play certain chords. But I actually like it if you don't know where the notes are, because then you do it intuitively. You're working out a new language, basically. New rules.
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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.
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The best musicians or sound-artists are people who never considered themselves to be artists or musicians.
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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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There's a lot of melancholy in my tracks.
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it's more interesting for me to stick things out anonymously. You get more of an honest reaction to what you've done.
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You're brainwashed in the West with equal temperament, so it's quite hard for people who like following rules to get outside of that and see what you can do. But for me it's easy because I don't work like that. I work intuitively.
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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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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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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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I got a feeling I had loads when I was in primary school, 'cause I had red hair you know, like Duracell.
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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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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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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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