When my parents got divorced, I wanted to spend my time laying in the garage listening to the washer and dryer. Loud, immersive, changing. It was music to me.
Definitely dub is in my body forever. I think I hear everything through a dub filter. Even when I play rock music, I play through a dub filter.
While I'm working, I stick with music that won't distract me - the dub stylings of Scientist and King Tubby, maybe some Beethoven string quartets.
Dub has been a big influence in terms of production. It's inspired so many people and so much music - in terms of music where mixing desk was the instrument. Central to that is the echo chamber, and I think there's a little bit of a romantic thing there.
All the music I listened to in high school that I loved and that moved me wasn't the same music other kids were listening to in school. I got into punk rock and new wave, then dub and hip-hop.
My mom listened to a lot of house music. My dad listened to a lot of roots and dub. I've got a lot of bass. It's been in my whole life.
I'm into a lot of different types of music - pretty much everything from blue grass to jazz to dub step to metal to indie experimental and progressive.
My dad was a blues musician around Dublin when I was a baby, so the only music I would listen to growing up was John Lee Hooker and Muddy Waters. It's music that feels like home to me.
I was essentially raised on blues music. My dad was a blues musician around Dublin when I was a baby, so the only music I would listen to growing up was John Lee Hooker and Muddy Waters. It's music that feels like home to me.
When I go home, I go to my house in the countryside. I don't hang out in Dublin. I go home to be with my family and have a rest and so on. I don't know anything about the Irish music scene, and I've never felt part of it.
We've been appropriating in art since Duchamp, and we've been appropriating in music since the first person was banging on drums.
I'm not Tupac or this prophetic dude or anything like that. I just want to make music and have fun.
What you want is for music to love you back. That's why you pay your dues. You want to feel like you belong and are part of this symbiosis, metamorphosis, whatever you want to call it.
To sing a duet together means sharing with someone both the pleasure and the responsibility of making music for an audience which is there to feel enjoyment through music.
Music moves me - duh - and that is like having a window opening on a heightened reality, but the effect is fleeting: When the music ends, the magic, the uplifting, vanishes and the window slams shut. Words, on the other hand, by the nature of how they work, emotions evoked by dint of carefully laid out thoughts, have a more lingering effect.
I want people to feel what it was like in the '40s. That's when popular music in the United States was so beautiful. Frank Sinatra, the Pied Pipers, Duke Ellington, Fletcher Henderson, Tommy Dorsey, Billie Holiday. That's when popular music had deeper values, to me. This was music that was selling millions of records.
There are only two things: love, all sorts of love, with pretty girls, and the music of New Orleans or Duke Ellington. Everything else ought to go, because everything else is ugly.
The Metropole Orchestra is like Count Basie or Duke Ellington with strings... it's strings that swing. Strings that swing like Dizzy Gillespie... keep swinging, baby. And when you have all of that special excellence of the Metropole Orchestra, then your music just flies - it soars in a way that's really magical.
I think I go with the Duke Ellington view on music. He said, 'There's two kinds of music - there's good music, and then there's the other kind.'
When you work you are a flute through whose heart the whispering of the hours turns to music. Which of you would be a reed, dumb and silent, when all else sings together in unison?
