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Stereotyping and generating brands around musicians I think contributes to their eventual demise.

Squarepusher

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Squarepusher
Age: 49
Born: 1975
Born: January 17
Drummer
Guitarist
Jazz Musician
Musical Artist
Musician
Recording Artist
Chaos A.D.
The Duke of Harringay
Thinking
Contributes
Demise
Stereotype
Musicians
Brands
Musician
Stereotyping
Around
Eventual
Think
Generating

More quotes by Squarepusher

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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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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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But I don't really listen to much be-bop at all at the moment.
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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'm basically a musician.
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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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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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I love traveling. I love just going about on my own, feeling I have no roots.
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Your responsibility as an artist is to experiment.
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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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The older ideas are rendering more and more bland music.
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I'm into music for all different sorts of purposes.
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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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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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I don't know how many records I'm selling.
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I've never really been that much of a fan of Ninja Tune.
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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 starting to play all the melodies with kind of keyboard sound but playing it from the bass guitar.
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