"There’s something in that sensation of stasis without repetition that gets right at the heart of a lot of what’s most interesting to me about music and records. The expansion and contraction of time that one often feels with “high minimal” music can produce a sensation of unusual freedom; you aren’t being led around by the nose and your attention is able to traverse it in a very loosely determined way. I’ve found the same qualities at work in a lot of techno, particularly in the context of a really proper set. Being out at a party and feeling the same things happening with time […] was the “eureka” moment at which I first felt like I “got” techno as a visceral, bodily thing and not just on an intellectual level. I don’t think it’s too much of a stretch to suggest that a lot of drone music is doing essentially the same formal things as certain sorts of dance music albeit on a different time scale; one is zoomed way in and the other is zoomed way out, but it’s impossible to tell which is which. That might go some distance toward explaining how well they both lend themselves to communal experience on large soundsystems."
Chris Madak of Bee Mask talks his favorite records
"Music is always the end product, but the ideas are coined beforehand. Of course you want to create an atmosphere, like everybody does. Because there is no narrative in techno, lots of people blindly couple it with spaceships, science or shit like that. It’s got absolutely no interest for me or my life. I want immediacy. I like here and now. These are the things that interest me about music. Sex, ritual, that’s what I’m into. It’s very naturalistic, I’m not doing it because of any reason, it’s a progression of who I am. In our case you can hear the authenticity in the music that we make."
Regis Interview in Quietus
"All of us affiliate ourselves, or have been involved in, noise or experimental type things. It was pretty tough doing electronic music at the time. If you had a laptop it was like, "Oh, this dude’s lame". You had to have analogue equipment, or a cassette player, or effects pedals, contact microphones. People were getting real DIY with it, which was pretty tight. We’ve just been used to a lot of weird shit, so we’re trying to take our experience and make it our own."
Galcher Lustwerk of White Material Interview in the Quietus