Quotes from Oneohtrix Point Never

The easiest way for me to tell someone what I do is to say that I'm a non-musician who practises and produces music. I don't have a theoretical language for music. I have this abstract dream language.

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 knew my whole life that I had to make ends meet or I would be ashamed of myself. I had a lot of pressure from my parents. So that's where my vision comes from. It's not to be a great artist, it's always to be like, 'Dad, look, I didn't let you down.'

Thrillers rely on certain archetypes and our familiarity with them is quietly driving all of the tension. So it becomes an interesting challenge from the score perspective, to enhance that tension without being noticed, just like those archetypes.

My friend and I were in a band together and we used to always refer it it as 'floor-core,' meaning that we would sit on the floor and play stuff.

I have a hard time making a linear-idea song, because that's not the way my thoughts work.

I love seeing Tim Hecker perform because the experience truly shakes me.

Yeah, I tend to tinker with things that I love. It's habitual.

When I make music I try to be as honest as I can to how I experience the world. Like how you arrange a piece of music formally. I tend to observe a lot of chaos or whatever, the fragmentation and melancholy. That's the filter I synthesize my world view with. If I didn't formally have that chaos and it was really linear, it would make my skin crawl.

Science fiction to me is the ultimate art form, because it speculates on bodies and worlds that don't exist.

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.

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.

When you're working in service to a big project, there's always the question of, 'Is there total freedom to do what I think is right artistically, or is this a job?' It's okay for things to be a job. I'm perfectly comfortable working. I don't need to sit around and quench whatever personal artistic thirst I have at all times.

Oneohtrix Point Never is total freedom to do what I think is right.

I was never totally sold on this idea that I'm just a musician. I wanted to be the Tim Burton of music.

I really love Glasgow. It reminds me of Boston in parts.

The subject is missing from 'Replica' - it's about malleability of materials, and working with metaphor, and sculpting in time. So that makes a collaboration with another person who pushes sound in a sculptural way appealing, because you're like, 'Let's see what dimensionality is introduced from this other perspective that I might not have.'

That idea of being so sure of what has happened, and what will happen, is the most idiotic human thing that anyone can do.

The dumber the thing is, the more excitement I get from imagining a very complex world of truth around it.

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

For so many people, it's very hard to feel okay with success, because success is not cool. It supposedly tarnishes your thing; it ruins little pockets of scenes and the self-importance that comes from thinking you're the only people in your town that are doing something.

I'm so into this idea that the Internet was this reservoir of mythologies and histories, and the architecture of it being linked pages that create hard connections and bridges between ideas that shouldn't be linked.

I love Ableton's vocoder and Operator for basic side subs and general low-end.

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.