“I just had to release demos again… music I really like instead of music that I’d do. Once I’ve done something, I like to move on and do something new. I guess it’s just the reflection of how my taste changes—or progresses, not changes. I’m not so much affected by how much the music sells, more just by how it sounds now, which I find less stressful.”
Mike Paradinas Interview on RA
“If one combines the functionality of reduced electronic structures with the living textures of ECM productions, it ignites new passions on a subliminal level….The most important thing is to harmonize these two worlds, without them aspiring to mutually deactivate each other, to keep both – the organic and the electronic – in balance.”
How did you approach the ECM work in the studio?
“Very naively, as with everything I make. We did all the tracks on one day each. We isolated sounds we liked from the originals, put together an arrangement, and mixed it live. This naive approach to music is something that’s becoming more and more important. This process of not being fixated on a goal. OK, with club remixes, you’ll have to fulfill certain expectations. But generally, I try to not to activate my intellect. I try to become more and more child-like.”
Ricardo Villalobos Interview on Fact
“The ‘future’ I’m always looking for from music is really just a word – and perhaps an increasingly unhelpful word – for the not-past, for the never-heard-this-before. Most likely when it does occur, it’ll have nothing to do with all these long established, well-worn ideas of future-music ( bleeps, klangs, etc). It is unlikely to sound obviously electronic, or computerized.”
“The problem with retro culture is that it is utterly immersed in the past, but it is increasingly ahistorical. Retro is the exploitation of the past – its history-making exploits all the hard work that was put into creating new forms – in a way that never ceases to be dependent on history but that doesn’t illuminate it or reactivate it in a way that gives it any kind of renewed relevance in the present. It’s just simulation, a replication that is depthless, all about surface stylization.”
Simon Reynolds Interview
“With roughly 300 clubs with enough capacity to entertain 50,000 people, Berlin attracts thousands of tourists every year, helped by low-cost airlines that make it easy for people to come to the city for a party weekend”
Wall Street Journal Article on Berghain/Berlin Nightlife - WTF?!
“I try to write on the edge, to be honest. Once music is discovered as a style, it loses its charm. So I try work in the middle ground where the songs often ripen a year later. “
Zomby Interview on Self Titled
“I can’t express it in words… you hear two records playing and you feel the moment when the new one is coming when the kick drum changes. This you can only do physically and it’s amazing, and I really miss it in all of this computer mixing. You don’t have it anymore. And because the two records are recorded in a different way, there’s always this live feeling, this really nice natural sounding mix. Bio-mixing! Biological mixing ! Like you sell organic bread or organic products…organic mixing!”
Nina Kraviz Interview on Halycon
