Quotes from Oneohtrix Point Never

My friends and I have often discussed the plausibility of a connection between qualitatively bad music and quantifiably successful music, often citing the example of Candlebox and their paradoxical influence on culture.

When people talk about how parameters can generate really good work, there's no better example than working within a genre in film. That's like the ultimate parameter.

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.

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

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.

Before puberty, it seems like I was more or less smiling a lot. I was really outgoing and wanted to have a happy life.

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

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

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.

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.

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.

I love thinking of music of this way to access some kind of illogical realm filled with all kinds of aberrations and weird stuff. It's not implicit in music to have a story, so it creates this incredible potential for vague stories.

The problem with depicting what's weird and what isn't is that it's got to this point of near total oversaturation. There's definitely a threshold at which that language and experience becomes tedious. How can something be weird if everything is apparently weird?

It's not like I actually understand the properties of sound.

I was always screwing around with music, but I really wanted to go to film school when I was in high school. I guess what happened was that I didn't get into Tisch, that's what happened. I got deferred. And I went to Hampsire and ended up making music like everybody else there.

The promotional cycle's this staging area for failure. I hate it! Why bother when everyone's either gonna steal the album or copy it?

I've made my most horrible inhuman tendencies work for me.

I think nostalgia used purely for the sake of emotional reminiscing is extremely boring.

John Martin was a great, complex folk singer, and later on, his music became more and more melancholic as he went through a separation with his wife.

I had it calcified inside me that that was the ultimate state of composing. Being Brian Wilson. Being simultaneously a genius and sort of lost at sea - not really knowing what you're doing but reaching for the stars.

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

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