Pixies and Sonic Youth were so important to the eighties.— David Bowie
Colorful Sonic quotations
Each member does whatever they want with the song and it totally changes it from whatever idea I hear around it. It turns it into a Sonic Youth song and completely away from it being a solo song.
We were like psychedelic folk combined with Sonic Youth's noise.
We were like psychedelic folk combined with Sonic Youth's noise.
There's only so many small shows you can do.
A lot of the smaller things are more side project things. Not everything is appropriate for Sonic Youth to do.
I'm not saying Sonic Youth was a conceptual-art project for me, but in a way it was an extension of Warhol. Instead of making criticism about popular culture, as a lot of artists do, I worked within it to do something.
Lyric writing is an interesting process in Sonic Youth.
There's three people writing now, and we've all had a lot of interest and involvement with expression through words
The collision of hail or rain with hard surfaces, or the song of cicadas in a summer field. These sonic events are made out of thousands of isolated sounds; this multitude of sounds, seen as totality, is a new sonic event.
Working in theoretical systems can take away the juice.
It can also be very beautiful, but when you're trying to satisfy a theoretical principle rather than a sonic reality, then it can become dry.
Today all sounds belong to a continuous field of possibilities lying within the comprehensive dominion of music. Behold the new orchestra: the sonic universe! And the musicians: anyone and anything that sounds!
Sonic the hedgehog is a beautiful statement on capitalism.
You spend your whole life collecting yellow rings and then hit one spike and lose them all. And there is a fat man who wants to kill you.
If there's loads of material going by you don't notice the individual things quite so much. Also it really foregrounds the sonic dimensions like electronic ambient music, it's pushes all of that colour to the foreground so you hear little every atom of sound.
They can sonically sound like me, but nobody's ever gonna be able to write songs like T-Pain. There's only one of those.
"Dark Fantasy" was my long, backhanded apology.
You know how people give a backhanded compliment? It was a backhanded apology. It was like, all these raps, all these sonic acrobatics. I was like: "Let me show you guys what I can do, and please accept me back. You want to have me on your shelves."
The album feels like a new era for me -- emotionally, lyrically, sonically.
It feels fresh, it feels new. It's still me. It's still stuff that fans know and love but it's a new chapter 100 percent.
I wanna show you I can out-rap your favorite rappers.
I wanna show you I can out-produce your favorite producers. So I'm constantly getting better and I understand that there's always room for growth, especially in quality, sonic quality.
Phonetics, you know speech, all this kind of stuff, phonograph, simple, but when you unpack the meaning it actually kind of expands out and that is what I was going for in my book "Sound Unbound" was to try and get people to figure out how do we unpack some of the meanings that go into these kinds of sonically coded landscapes.
Some people focus more on sonics. Some people focus more on story. I focus on both sonics and story.
Sonically, musicians always go above and beyond in our efforts to disrupt radio.
It's always about being different. Our radio is never conventional anyway.
I think that sonically, music speaks volumes more than words do, and I have always thought that and will continue to think that for the rest of my life.
I am voice actor Roger Craig Smith. You may know me as Batman, Captain America, Sonic the Hedgehog, Ezio from Assassin's Creed, Transformers: RID, or narrator of “Say Yes To the Dress” (among many other things). AMA!
When I went to college, I discovered the Sega console, and 'Sonic the Hedgehog' became very dear to me.
Dolby stereo increases the possibility of emptiness in film sound at the same time that it enlarges the space that can be filled. It's this capacity for emptiness and not just fullness that offers possibilities yet to be explored. Kurosawa has magnificently exploited this dimension in Dreams: sometimes the sonic universe is reduced to a single point-the sound of the rain, an echo that disappears, a simple voice.
I got really passionate about music with early Smiths and Joy Division.
And New Order, Sonic Youth, Cramps...kind of right across the board, whatever fell underground. Kraftwerk...it was really mixed. Quite confusing, I suppose, but it just felt good.
I'm not technical. When I listen to music, I gravitate more toward the sonic aspect of it. The technical stuff of it, I get bored with it. These long solos? OK, already. You know your scales, big deal. I know it, too, but I don't want to do that.
We never sit down before we start making a record and talk about this new sonic palette that we are going to try to explore. We always let the record kind of reveal itself to us over time.
The Sonics I found later and that was pretty important.
But really important, perhaps most important is the craft;
how you make your record, the creation of these sonic worlds you want your listener to hear.
Yes, indeed, in fact I would tell you that we go out of our way to be true to the original feeling and sort of sonic and musical pallet that we painted with back then.
First, I'm trying to edit down about 7 hours of material which I made prior to the Cop days and find some way to get it out. This stuff is pretty out there, mostly sonic collages and tape manipulations.
Talking about covers, whether visually or sonically, if a particular combination of notes struck a chord in your heart in a way that you want to be a part of it by covering that song, then there's nothing wrong with it.
It's very hard to take a character out of nothing, and put a hook on it, especially because it's only sonic. Futurama is a sonic world, and everyone's attention is focused on that sound and that little cartoon image. You can change it.
If I'm working on a set of songs, and thinking about putting them together in a collection, I start to think about what they have in common. Either on purpose or without meaning to, I shape them all in the same kind of way, because I'd rather the album feel like a galaxy of things that all have to do with each other. I do that with sonic elements, too - it's a matter of each record having its own specific identity.
We are fascinated by the club and the dancefloor;
we are also fascinated by very nuanced sonic experiences, and somehow we are convinced that we can bring together these two contradictory forces and create some kind of sonic supernova. This would be the candle that has always been at the center of our project.
We allow the sonic qualities themselves to develop their own momentum.
It's a kind of humbling experience to put the sound first instead of the statement.