Aphex Twin Quotes
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I'm a really good hacker, but I'm not a sensible person.
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There's something wrong with my brain, it doesn't work properly! I can hear the same pitch in both ears, whereas for most people, if you listen to one pitch in one ear, it's slightly different in the other. That's how your brain works out direction.
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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'd like to have a dog with me.
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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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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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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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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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Can't really despise people you don't know.
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It's not about what equipment you have, it's what you do 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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There's a lot of melancholy in my tracks.
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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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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 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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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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I used to make up names when I used to catalog my stuff.
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If you're making things at home, there is no structure - no end, no beginning. So releasing stuff is a really nice way to have dividers in between what you do, and giving yourself a kick up the ass and saying, "OK, that's the end of that period."
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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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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 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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I used to love jungle. I still think it's the ultimate genre, really, because the people making it weren't musicians.
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Well, I just bought a massive bank and I've moved into it on my own.
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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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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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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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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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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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I wanted to do gigs where you've just got mirrors on the stage, and then you light the crowd so they look at the stage and all they can see is themselves. It's just like, "There you go, it's you, you cunts."
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You change all the time. Everything changes you.
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