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Music doesn't have to be so rule-based - and so strict in its structures, construction and perception.

Stephen Mallinder

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Stephen Mallinder
Age: 69
Born: 1955
Born: January 1
Guitarist
Singer
Sheffield
England
Stephen William Mallinder
Rule
Structure
Based
Doesn
Music
Structures
Strict
Construction
Perception

More quotes by Stephen Mallinder

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I think you have a certain level of confidence in what you do. Arrogance is the wrong word. I think when you go into it, you're aware that you're doing it for the right reasons - and you have your own moral and ethical code. And we weren't driven by money, but by a a desire to make music and make a statement.
Stephen Mallinder
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In the 80s, we were still living in a kind of Cold War environment.
Stephen Mallinder
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We were sort of coming from an angle where we wanted to break rules.
Stephen Mallinder
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We were working in entertainment, in the music industry, with popular music, it was important, but it was something that we also felt was a responsibility.
Stephen Mallinder
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I think underneath it all [in the Big Funk] was a little bit of a Europeanness in it.
Stephen Mallinder
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I think in everything we did, there's a sense of tension and a sense of things pulling in a different way. It's interesting calling it beat music. That's quite true, the rhythm is up to the fore, it's got a slap bass, and it's got funk in the title. But I think there's always a level of irony when we did those kind of things.
Stephen Mallinder
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It was an important period for us, because even though we weren't a punk band, and what became a model for a punk band, we were able to be dragged along by the spirit of that time.
Stephen Mallinder
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I don't think it had a name when we started. If punk has any roots, Dada is part of it. And we saw ourselves as part of a kind of Dada tradition.
Stephen Mallinder
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Some of it was shot in Berlin, but a lot of it was filmed in Hamburg, along the Reeperbahn in Hamburg in the famous red light district. Kino is obviously German and film and cinema and we were always cinematic in our thinking.
Stephen Mallinder
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One of the tropes of our videos is that they were very rhythmic with clipped edits.
Stephen Mallinder
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We were responding to a period in the 70s when we started that it was very much you cannot be involved in music unless you studied to do music.
Stephen Mallinder
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I think what we tried to do lyrically, vocally and musically was to capture a sound.
Stephen Mallinder
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We've always been journalists - and have seen ourselves in that way. But we sort of recontextualized it through music.
Stephen Mallinder
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Crackdown had Dave Ball playing on it. Flood worked on our next album, and Adrian Sherwood worked with us on Code.
Stephen Mallinder
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We were coming from a completely different place, which was saying sound is what you want to define it as, and you can shape it into music in whichever way you want.
Stephen Mallinder
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[Kino] worked really well as a song title, and to build into a lyric, and also how we embraced mulit-media at the time.
Stephen Mallinder
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We've always been observant of things, and I think Crackdown was very much like that and the film interpretation was that journalistic view of that situation.
Stephen Mallinder
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Crackdown, the video, interpreted and reflected a sense of authority and austerity and a sense of slight, impending doom.
Stephen Mallinder