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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.

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
Like
Quite
Successful
Whatever
Someone
America
Underdog
Wells
Admirable
Well
Whereas
Done
Britain

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It's only interesting when you're from somewhere else, like America or Japan. The further away the more interesting it is.
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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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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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That's just globalization. It's got good sides as well. But scenes aren't allowed to develop on their own anymore. Everyone knows about everything.
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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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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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I'm just some irritating, lying, ginger kid from Cornwall who should have been locked up in some youth detention centre. I just managed to escape and blag it into music.
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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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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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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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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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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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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 sounds really arrogant, but my music's my favourite music ever. I prefer it to anyone else's.
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You change all the time. Everything changes you.
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There's a lot of melancholy in my tracks.
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I'm a really good hacker, but I'm not a sensible person.
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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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The best musicians or sound-artists are people who never considered themselves to be artists or musicians.
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