The idea behind 'NecroFusion' came about when Praga Khan of Lords of Acid contacted me after I started making a bunch of Twitter posts about how big a fan I was. Lords of Acid was my favorite band in high school, and Praga is a true pioneer of that style of electronic music.
A lot of people see electronic music as a flavor of the week, but it can be more than that - has to be more than that.
I don't feel that electronic music has to stand on the back of urban artists or anyone else to be recognized. It's great music.
I think people in electronic music are trying to get these big features: 'Oh my gosh, I'm gonna get the biggest pop star to feature on my track.'
There is so much great talent in the underground, and electronic music is finally getting the props that it's deserved for so long. I feel like now that everyone is discovering it and it's so fresh sounding to so many people. It doesn't get any more rock n' roll than playing EDC or the Staples Center. It's really madness.
For me, one of the downfalls of electronic music is that it can feel a little soulless or robotic.
A lot of electronic music out there feels cold. I want to incorporate a human element.
I wasn't embraced as an Irish artist back in the Moloko days. Modern electronica isn't what you think of when you think of Irish music.
People who play conventional music are threatened by electronica and don't consider it to be as valuable as what they do.
Before the first xx record, I pretty much exclusively listened to electronica. Now, I listen to anything. I think the most inspiring thing is just learning more about more and more different kinds of music and becoming a fan of so many different types and so many different genres.
For electronica music, David Linton has been doing this series called Unity Gain, which is pretty cool.
I am a massive fan of early electronica like Steve Reich, Pat Metheny and Thomas Dolby. I used to be a big raver, too, so anything dance. I love ambient music like Tunng. I love acoustic and classical, too.
Rock is periodically pronounced dead by clear rock critics - killed by world music, or by hip-hop, or electronica, or the Backstreet Boys. But if you wait a year, it comes back to life.
When I first started out in the music industry and went to Elektra Records, I didn't go to be an artist, I went to get a record label started. And they said in order to have a label deal, I had to be an artist - so that's what I did.
In my elementary days, I took a liking to rock & roll music. I dabbed into Marilyn Manson, which became my favorite.
To have the chance to see your music be elevated and to have almost universally positive response to that music, makes me feel better every day. I feel more confident and inspired, and that's fun.
There's a lot for us to achieve and a lot more music to explore. I'm not saying we want to start doing experimental prog or something, where it turns into elevator music after a few records, but I don't think we've even scratched the surface.
By putting this music out, I think I genuinely eliminated 80 percent of the previous jobs I was qualified for.
I think that music is crucially important in Shakespeare - and, clearly, was an important part of the Elizabethan theatre. And, it's always been something that was a profound element of the experience of Shakespeare that I have been drawn to - and interpreters have, as well.
I just wanted to do a music show, with the whole realm of music from Ella Fitzgerald to rock bands like Cream to Kenny Rogers. We had a lot of country, but we did every kind of music. The Monkees were on, and so was Johnny Cash.
