Oneohtrix Point Never

“I've always been obsessed with the grain of the human voice. It's the ultimate instrument, there's this whole level of virtuosity and poetry, a sort of athleticism, of controlling your voice.”

“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.”

“I was doing the Klaus Schulze noise-kid thing before it became interesting to people.”

“I've lost so many gigs composing commercial or television music because I can't repress my inclination to work against conventions.”

“I'm not much of a crier, actually. You know, I tend to cry and get sappy on planes.”

“There are so many things that interest me more than standing on the stage of my own obsessions.”

“It's sad to me that the main stage of history is a story of how we became this visually obsessed, extremely narcissistic, extremely concerned about image, culture. At least in the West.”

“I don't think I could make a good film, but I could definitely score a good film.”

“Music that is considered minimalism - or post-minimalism music in general - things of that nature or that come from that tradition, or even drone, or non-western music, have a more subtle and more open-ended verticality to them that allows for your own mind and body to be involved.”

“The thing that I've always been a little bit jealous of is a complete, a total giving to one form, like a genre, and just a mastery of it. My thing is very different. It's a complete embrace of something, but I've never been able to say, 'I believe in this.' The only thing I believe in is that I'm in this perpetual state of disbelief.”

“I was perpetually this B-minus kid vacillating between eagerness and depression. I wasn't a bad kid, and I definitely wasn't aggressive, but I was a sad kid.”

“I need weird breakages to happen for music to feel true to life, and I think that also applies to good film scores.”

“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.”

“O.P.N. has always been about reaching for some kind of liminal state in which opposing aesthetic forces become entangled and confused and equal.”

“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 just like cliches. I like tvtropes.com. It's pretty much my bible.”

“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.”

“I like explication of ideas, even if I'm wrong or even if it's a struggle or if it's a work in progress.”

“While I absolutely love a great drummer and get tunnel vision listening to drums at a show, a lot of the time I feel like drum machine-driven music tethers you to a genre.”

“I'm down for indefinitely chilling as long as I'm not self-aware during it. That seems like it could be torture on some level but a lot of people pray for that so who knows.”