Flying Lotus Quotes.
I just understand that I’m supposed to be one of those people that disrupts the flavor a little bit instead of being part of the same sound as everyone else.
I always feel like the past informs my present musically.
I just like to be dangerous with what I try to do.
More than ever, I had to analyze my mental state over the past couple of years because of all the things that happened since the last album came out. Just being surrounded by lots of noise – good and bad – and still being able to try to hold onto some kind of identity for myself.
I actually really liked the music to the ‘Friday the 13th’ Nintendo game. I still listen to it all the time. I sampled it in a couple records, too. It’s hypnotic and dark but also really pretty.
I go through phases when I’m super into my anime stuff.
I wouldn’t want to get involved with a game that’s a stinker – I can smell one of those a mile away.
George Clinton is the best storyteller in the world.
Sometimes I feel evil!
‘Cosmogramma’ is basically the studies that map out the universe and the relations of heaven and hell.
I’m so thankful that I had music to turn to in the dark times and be able to understand myself through it.
I know what it’s like listening to Aphex Twin driving down the beach.
When I can make music and don’t have to think about anyone else’s ideas or voice – when I’m making something that only I can make – it feels good. It’s nice when you can find a sound that only you can make. No one else can make ‘Cosmogramma.’ No one else can make ‘Until the Quiet Comes.’
The city is always influential in the work, though I’ve had that temptation to leave, but only recently. It’s difficult because whenever I start working someplace else, I’m like, “Man, this would have been better if I had my subwoofer.”
I was first inspired to make music by my cousin Oran. He was making music on an old Mac II by himself in his little lab, and I just started taking up after him. He was the first person to put a machine in front of me to work on. He was like my big brother, someone who I looked up to.
In high school, I was that guy who was trying to be cool with everybody, but I never really had a core group of friends.
I love my Fender Rhodes. It’s been a part of my family since that keyboard came out, and I’ve had it reworked so that it’s in the best condition it’s actually ever been in. That is my baby.
I grew up in the San Fernando Valley, which doesn’t feel like L.A. It’s a bit different. It’s still L.A. County, but it’s not the same, it’s not the kind of place where they embrace you for being a weirdo. You were just left alone with your Nintendo, and that was my life.
I was a real big fan of Lil Wayne when he first came out.
I remember Usher came up to me at Coachella once, and it’s like, ‘Are you sure you’re talking to the right person? How do you even know what I look like? You’re not supposed to know who I am.’
I decided to play the saxophone because it was the most obvious instrument in my family. There were a lot of saxophone players in my family, and there were extra saxophones, so that was an easy one to pick up. It was fun – it was okay – it just wasn’t me. It didn’t feel like my instrument, so I never followed through.
I had a little Walkman, the worst Walkman ever. It was the yellow one, that underwater Walkman. Like you need to take a Walkman under water.
I don’t have a great story, but I love Boards of Canada. I didn’t get into it when it was happening; I got into it later on.
Communicating with musicians is really interesting because everyone has their quirks and their strengths and their weaknesses.
A strong concept is the most important thing in creating a record. When you can listen to it and see a whole movie in your head, that’s what separates an instrumental album from a beat tape.
If I have to be ‘the experimental guy’ or whatever, then I’ll roll with it.
I never leave L.A. for too long. I’m not one of those that go on a tour of the whole world. I probably should be, but I’m not.
I do think your environment really plays into how you create. I lived in San Francisco for a bit, and I felt like I lived in the Matrix – so my music had that paranoid-of-the-outside sound to it.
I played saxophone for a while when I was a kid.
Part of what I like to do with Brainfeeder is to get the younger kids hearing jazz, because they don’t know where to go to really hear it. Brainfeeder gives me a platform to put out people like Kamasi Washington or Austin Peralta.
I was 10 years old when the Northridge quake happened, and I lived right in the area, so it was a traumatic thing for me. I’d never had anything like that happen before. It’s always stuck with me.
People are not able to just make music anymore; we have to do things that don’t necessarily make the art any better. But that’s just how it is.
I like to stay in the space of creativity, and I want to go towards that all the time.
I can’t work without a Good L.A. weed. That’s the thing you miss the most.
I’m not much of a coffee person, but when I wake up and the sun is shining through the window, I’ll get a lil’ bit of green tea and get to work.
I don’t sit around listening to beats all day. There’s so many producers, and so much of it is derivative.
I like Philip Glass. I think he’s made some really great contributions to his field. I love his style of playing – it’s very loop-style.
I love ‘Pop Team Epic,’ which is really trippy.
Dilla could flip a boring record and make you feel like you were flying.
I need to help people to create the best work that they can. It’s just something a producer should do anyway.
I don’t like to brag about it, but there are people I’ve worked with at the start of their career, and they’ve all become very, very successful.
I’m just a fan of art and culture.
The Soft Machine’s ‘Volume Two’ inspired me heavily. That record just feels like it was all done in the same breath. It’s genius, and it’s silly at times. But I love the fact that every time I listen to it, I listen from the beginning and want to play it out.
I’m not the kind of person who’s always out at the club if I don’t have to be. I like chilling. I think that comes across in my music.
I found so many reasons to call it ‘You’re Dead!’ – not just because I wanted to make this album about the journey through death. I was watching the music scene that I came up with kind of go stale and watching the lights go out on a lot of my friends.
I feel some responsibility to shine light on things that I love.
We’re all trying so hard to be beautiful, but the people in ‘Kuso’ are trying so hard to be disgusting.
I’m always seeing stuff and imagining scenes in my head when I’m making music.
There are things I’ve seen and experienced in this world – things they don’t talk about in too many books.
I like when my mind is being stimulated and challenged, and I’m forced to be creative.
Death is a reality, and one day I’m not going to be here anymore, and whatever’s next might not be that bad either.
I like comedy.
I don’t want to do one of those records where it’s like a compilation of a bunch of all sorts of rappers on my beats. I don’t find those to be focused albums. I’d like to sit and work a whole record with a certain person, to come up with a concept and see it through that way.
Whenever I am making stuff, I got a thing in the back of my mind: ‘Oh, this would be so perfect for’ whoever.