Quotes About Experimentation

Much of the social history of the Western world over the past three decades has involved replacing what worked with what sounded good. In area after area - crime, education, housing, race relations - the situation has gotten worse after the bright new theories were put into operation. The amazing thing is that this history of failure and disaster has neither discouraged the social engineers nor discredited them.

Innovation requires, above all else, a willingness to embrace chaos.

The way I figured, I was just a kid, and if I could take it apart, they surely could put it back together. Then my mom would walk in the kitchen and see me standing on a chair at the counter, holding a screwdriver with disassembled components all over the place. 'What the heck's going on?' 'I'm intrigued how the blender works.

There's no reason why a writer shouldn't explore and use different genres.

Hip hop is doing the new rock thing; there are no rules. They can do anything, really. And that's inspiring.

With Freebass, there were no rules, really. It was all rather chaotic. Obviously, Hooky was playing the high end stuff, which he always does; Mani was doing the bottom end, and I thought I'd go midway and meet everyone in the middle.

I never learned to cook, so I've got no rules. I'll put things together just because I think they belong together.

When you sit there doing a film score for three months there's no time to experiment.

If I have a 100 percent batting average, you should fire me, because it means we haven't tried anything really noble.

The majority of the people think that noise is not music. I want to accept noise and even errors and glitches. I enjoy them.

I found a way to connect with lots of instruments rather than just fixating on one of them. I just loved making noise on anything.

On 'Honeybabysweetiedoll' I used a Whammy, a Boss OC-3 octave box, a Sustainer and a Line 6 DL4 Delay Modeler. That's only on the intro, where all those weird noises are happening.

I saw Double Leopards play at my school and realized there were other ways to approach noisy music that weren't necessarily aggressive. That became a very important concept for me as a musician. I don't think I would have been that interested in creating and performing my own music if it wasn't for this group.

I'm normally drawn to something I haven't done and seen before.

I was obsessed with theatre and loving the work of Caryl Churchill, Edward Bond, Howard Brenton, and Howard Barker, people doing real formal experimentation. But 'Road' was the first time I'd read a play written in a very true Northern dialect that seemed to have that excitement running through it.

I'm not interested in a rock/jazz fusion.

My methodology is not knowing what I'm doing and making that work for me.

I didn't know how to play lead guitar. There was a freedom in not knowing how to do it.

Sometimes, not knowing what you're doing allows you to do things you never knew you could do.

When I tried to play something and screwed up, I'd hear some other note that would come into play. Then I started trying different things to find the beauty in it.

Most of those melodies are me trying to find out what notes fit, and then hitting ones that don't fit in a very interesting way.

Sometimes you can just record anything and slow it down hugely and you'll find all these hidden notes and frequencies that match up really nicely.

People get caught up in recreating something, and that actually hurts the genre of music because there's nothing new.

I've noticed that the more adventurous and in that mode that I am, it seems that the more the audience really likes it.