I Have A Definite Talent For Convincing

I Enjoy Working With Complicated Equipment. A Lot Of My Things Started Just With A Rhythm Box, But I Feed It Through So Many Things That What Comes Out Sounds Very Complex And Rich.

Saying That Cultural Objects Have Value Is Like Saying That Telephones Have Conversations.

You Can Hear The Profile Of A Sound, In Retrospect, So Much More Clearly Than You Did At The Time. And I Think One Of The Things That's Going To Be Nauseatingly Characteristic About So Much Music Of Now Is Its Glossy Production Values And Its Griddedness, The Tightness Of The Way Everything Is Locked Together.

There Are Certain Sounds That I've Found Work Well In Nearly Any Context. Their Function Is Not So Much Musical As Spatial: They Define The Edges Of The Territory Of The Music.

In The Wake Of The Events Of 11 September 2001, It Now Seems Clear That The Shock Of The Attacks Was Exploited In America.