Oneohtrix Point Never Quotes

All my collaborators unilaterally said that I need to just stay on one idea for longer. And of course I understand that. I like to switch gears a lot, and I like this kind of sloppy attitude.
All of those 10cc 'Not in Love'-type synthetic choir sounds on 'Replica' are all from the Omnisphere. We used a lot of that.
Anything that's too self-assured just makes me nervous.
As a movie fan, I remember Quentin Tarantino and Lawrence Bender and the sort of energy around 'Reservoir Dogs,' and the jump from 'Reservoir Dogs' to 'Pulp Fiction,' and how everybody was stoked on Quentin's career.
Before puberty, it seems like I was more or less smiling a lot. I was really outgoing and wanted to have a happy life.
Eccojams are a very simple exercise where I just take music I like, and I loop up a segment, slow it down, and put a bunch of echo on it - just to placate my desire to hear things I like without things I don't.
Especially in repetitive music, to make a long piece of music you have to be extremely skilled in your sleight of hand. Just to make long form music it's very difficult and you really have to consider what you're putting someone through.
Far Behind' is a single from Candlebox's self-titled record from 1993. The record came out on Madonna's Maverick imprint and went quadruple platinum, regardless of how much it sucked.
Film scores are complicated puzzles that you need to figure out and solve very quickly, or else you're basically fired. You're hired to enhance the film and you only have a couple tries to prove that you are capable of that task. I can keep trying to enhance my album ad infinitum.
Film work can be anything from just really hard and stressful and you're subjected to really weird deadlines to really draconian and weird and disconnected. You're working in service of the thing, and that can be really amazing for everyone involved, or be kind of just a waste of time.
For so many people, it's very hard to feel okay with success, because success is not cool. It supposedly tarnishes your thing; it ruins little pockets of scenes and the self-importance that comes from thinking you're the only people in your town that are doing something.
Games is like hardwired plumbing in the house of pop. It's not pop itself, its sort of like the behind-the-scenes arteries and capillaries of pop music.
Games isn't really pop music, and neither is OPN. Both are part of the same ecosystem and both deal with exploring the undercurrents of pop music.
Generally my response to seeing something really symmetrical and perfect is... it's the scene with Jack Nicholson's Joker in the first 'Batman,' the museum scene. Him just spray-painting the Mona Lisa, and whatever, with his goons.
Growing up, I wanted to write films and make films. Even as I took this detour and stayed in the music world, I still think in terms of 'What is in this room? What is the shot? Who are the characters? What is the conversation here?' My sense of pacing is very filmlike, it's not musical.
I am not an egghead in the least.
I basically am always chasing this super enhanced stimulation from music.
I can't tell you how much more important watching 'Hellraiser' is to my music than listening to a Milton Babbitt piece or something.
I definitely strive towards something I think of as a hallucination of music. That's always been the OPN vibe. I think of it as mostly a felt thing, and a koan of feeling that is shared between me and OPN fans. We know what it is when it gets there.
I don't like straightforward drum sounds and hate snares; can't stand them.
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