Aphex Twin Quotes
Forget all the equipment, forget the music, at the end of the day it's just literally frequencies and their effects on your brain. That's what's everyone's essentially after.
I got a feeling I had loads when I was in primary school, 'cause I had red hair; you know, like Duracell.
I've got a weird balance problem as a human being, like I'm dizzy, and it's something to do with that.
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.
It's really funny, because if you make up words, then people project their own meanings onto it, which I find interesting.
A lot of composers before me have been on this mission to change the world by getting off equal temperament, and I'm definitely one of those.
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.
The best musicians or sound-artists are people who never considered themselves to be artists or musicians.
It sounds really arrogant, but my music's my favourite music ever. I prefer it to anyone else's.
The holy grail for a music fan, I think, is to hear music from another planet, which has not been influenced by us whatsoever.
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.
it's more interesting for me to stick things out anonymously. You get more of an honest reaction to what you've done.
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.
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.
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.
If you hear a C-major chord with an equal temperament, you've heard it a million times before and your brain accepts it. But if you hear a chord that you've never heard before, you're like, "huh."
You can't rely on the fact that people know you. At Glastonbury, when they all knew I was DJing, everyone was cheering even though they'd never heard some of the tracks I was playing before.
In Britain, it's good for me to be anonymous, because they just think it's a nobody. "Who is this guy?"
My filing system's really crap because I can never decide whether to sort things by studio, or year, or where I lived.
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.
I used to love jungle. I still think it's the ultimate genre, really, because the people making it weren't musicians.
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.
It's only interesting when you're from somewhere else, like America or Japan. The further away the more interesting it is.
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.
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.