Citas de Stephen Mallinder

• Music doesn't have to be so rule-based - and so strict in its structures, construction and perception.

  Stephen Mallinder

  Perception, Construction, Structure

  Fuente: www.artdesigncafe.com

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• We were coming from a completely different place, which was saying "sound" is what you want to define it as, and you can shape it into music in whichever way you want.

  Stephen Mallinder

  Sound, Different, Shapes

  Fuente: www.artdesigncafe.com

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• We also worked with Marshall Jefferson for Groovy, Laidback and Nasty. So we were lucky to work with some really great people.

  Stephen Mallinder

  People, Lucky, Nasty

  Fuente: www.artdesigncafe.com

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• Creo que en el fondo [del Big Funk] había algo de europeísmo.

  Stephen Mallinder

  Thinking, Littles, Bigs

  Fuente: www.artdesigncafe.com

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• You don't have to be trained in music to create sounds and to produce and release music. That's what we were saying back in 73-74. And that's the way the world is now - and all the tools of creation, production and dissemination are there in everybody's bedrooms, front rooms and studios.

  Stephen Mallinder

  Sound, Tools, World

  Fuente: www.artdesigncafe.com

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• We were fortunate at that time we were working with Virgin, and with Flood, probably more well-known as Brian Eno's engineer now and U2's producer, etc. Even though we weren't working in a strictly popular music area, which was great, we were lucky enough to work with people who were on the cusp of those sort of things.

  Stephen Mallinder

  People, Lucky, Etc

  Fuente: www.artdesigncafe.com

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• I think you have a certain level of confidence in what you do. "Arrogance" is the wrong word. I think when you go into it, you're aware that you're doing it for the right reasons - and you have your own moral and ethical code. And we weren't driven by money, but by a a desire to make music and make a statement.

  Stephen Mallinder

  Thinking, Arrogance, Desire

  Fuente: www.artdesigncafe.com

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• I think in everything we did, there's a sense of tension and a sense of things pulling in a different way. It's interesting calling it "beat music". That's quite true, the rhythm is up to the fore, it's got a slap bass, and it's got "funk" in the title. But I think there's always a level of irony when we did those kind of things.

  Stephen Mallinder

  Thinking, Interesting, Titles

  Fuente: www.artdesigncafe.com

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• If you're going to change things, one of the things we had to change is to get away from that traditional model of rock music, and we were a part of that.

  Stephen Mallinder

  Rocks, Rock Music, Get Away

  Fuente: www.artdesigncafe.com

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• I think what we tried to do lyrically, vocally and musically was to capture a sound.

  Stephen Mallinder

  Thinking, Sound, Capture

  Fuente: www.artdesigncafe.com

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• One of the tropes of our videos is that they were very rhythmic with clipped edits.

  Stephen Mallinder

  Video, Tropes, Edits

  Fuente: www.artdesigncafe.com

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• As sonic journalists, we were increasingly becoming bombarded with global images. It was the early idea of the cut-up, the idea of images being juxtapositioned, which we were doing with sound. That was the early days of samples.

  Stephen Mallinder

  Cutting, Ideas, Sound

  Fuente: www.artdesigncafe.com

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• Even though we were influenced by American culture and music, we like the rest of Europe have been colonized with that in the post-war period. At the same time there's a sense of dirty earthiness and Europeanness and Britishness in it as well.

  Stephen Mallinder

  War, Dirty, Europe

  Fuente: www.artdesigncafe.com

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• We had always used found sound, but we had always used it in an analogue way. And it was the early days of using collage and sound in a digital way. MTV, a couple of years later would be that way.

  Stephen Mallinder

  Couple, Years, Mtv

  Fuente: www.artdesigncafe.com

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• Crackdown had Dave Ball playing on it. Flood worked on our next album, and Adrian Sherwood worked with us on Code.

  Stephen Mallinder

  Albums, Balls, Next

  Fuente: www.artdesigncafe.com

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• We were responding to a period in the 70s when we started that it was very much you cannot be involved in music unless you studied to do music.

  Stephen Mallinder

  Periods, Responding, Involved

  Fuente: www.artdesigncafe.com

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• Even if that statement was ambiguous, we kind of wanted to cause a stir. We thought that by having the name "Cabaret Voltaire", that with it came a certain responsibility. It wasn't meant to be purely entertainment; it was meant to be something a little bit more serious - and to provoke people - wrapped within an outer wrapping of entertainment.

  Stephen Mallinder

  Responsibility, Names, People

  Fuente: www.artdesigncafe.com

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• We were working in entertainment, in the music industry, with popular music, it was important, but it was something that we also felt was a responsibility.

  Stephen Mallinder

  Responsibility, Important, Entertainment

  Fuente: www.artdesigncafe.com

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• Looking back, I think we were very much a part of democratizing music, and we wanted to demystify the process of making music - to show it's a myth.

  Stephen Mallinder

  Thinking, Process, Myth

  Fuente: www.artdesigncafe.com

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• I edited Big Funk, some of the footage was shot by Peter Care. We were film buffs as much as music buffs, and so there are film reference as well as sound references.

  Stephen Mallinder

  Sound, Care, Film

  Fuente: www.artdesigncafe.com

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• Ir allí [a Japón] a principios de los 80 fue todo un choque cultural. Creo que el bombardeo de Shinjuku y todo eso se filtró, lo que sin duda influyó en las cosas que filmamos más tarde.

  Stephen Mallinder

  Thinking, Japan, Culture

  Fuente: www.artdesigncafe.com

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• We were sort of coming from an angle where we wanted to break rules.

  Stephen Mallinder

  Break, Angle, Wanted

  Fuente: www.artdesigncafe.com

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• We were iconoclastic. We weren't there to sort of follow the trends really. So it was important that we were making a statement against that.

  Stephen Mallinder

  Important, Trends, Statements

  Fuente: www.artdesigncafe.com

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• I don't think it had a name when we started. If punk has any roots, Dada is part of it. And we saw ourselves as part of a kind of Dada tradition.

  Stephen Mallinder

  Thinking, Names, Roots

  Fuente: www.artdesigncafe.com

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• Si Dadá reaccionaba ante la moral y la estética de antes de la Primera Guerra Mundial, nosotros reaccionábamos ante la pomposidad del rock que existía en la música de la época.

  Stephen Mallinder

  Rocks, Morality, Reactions

  Fuente: www.artdesigncafe.com

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