'Black Watch' has taken its place in the canon of Scottish theatre, and that's fantastic. It's a very particular kind of theatre. It's about the music, the movement, the whole 'event' of it.
What is American music? The most satisfying answer I've come across is that it was a kind of natural comfort with the vernacular which is diverse and regional; it's not one particular set of sounds.
I've always had an overwhelming desire to express a particular set of ideas. As a musician, I'm always working with different people who can teach me new things and, through that, reach closer to an idea of this perfect expression. I'm never setting out to change the face of electronic music; I'm just trying to define this vision.
The basis of our partnership strategy and our partnership approach: We build the social technology. They provide the music.
I look at my music in the beginning, and the sexual songs, the partying songs, those are the realities because those things happen.
I go out partying to figure out exactly who I'm making music for. You can't just guess.
The nature of music is mysterious and so much so that it generates strong emotions within us. It moves along passages that reach the most intimate areas of our psyche without being tried by prejudices or influences of any kind.
People today are still living off the table scraps of the sixties. They are still being passed around - the music and the ideas.
I felt I really wanted to back off from music completely and just work within the visual arts in some way. I started painting quite passionately at that time.
People are so familiar with the show that I think they're perfectly happy to let it go by without asking any questions. There's a passivity to how we experience 'The Sound of Music.'
For the past couple of years I've been pretty bored with music in general... just bored with it.
I have been interested in Irish traditional music for the past few years.
I would give anything if it went back to analog age. I mean, music was so real, and you had to sing everything on a record; you had to play everything on a record. There was no cut-and-paste - you couldn't get the chorus right one time and then paste it every other time; you really had to be good at what you did.
I adore watching movies; movie marathons are my favorite pastime. I can watch up to five movies back to back. I also love music and like reading whenever I get the time.
I think people are tired of fake music, man. And there's a lot of it. Technology has reached the point where any boob can walk into a studio and with a little AutoTuning you can have a hit song. I think it's pathetic.
I love PJ Harvey, Patti Smith, Pixies, Portishead, and Massive Attack: a lot of what I would describe as alternative and indie music.
I felt like an outsider, so listening to a bunch of outsiders' music like Bjork and Patti Smith made me feel better. But at the same time, I didn't have anyone singing specifically 100% about things I could relate to.
My solo music - I get up onstage, I improvise and it's my improvisation. When I get up onstage with Fred Frith and Mike Patton, then we're improvising together. Then it's not my music; it's our music.
I was born in 1963. So the '70s were my teenage years. As a teenager, I was into rock and roll - Bowie, Rolling Stones, Pink Floyd, even more progressive music like Genesis, and I was into a lot of British rock and roll. But I loved also American rock and roll. CCR, Jimmie Hendrix, The Doors, Patty Smith, and Bob Dylan.
One of my initial memories of being taken over by music was watching Paul McCartney on TV play a tribute to John Lennon. He was playing piano by himself and singing 'Imagine,' and I remember feeling an anxiety and shortness of breath.
