Sometimes, you try something, and it works in terms of success. That doesn't mean you like what is a hit. Sometimes you like the most obscure song on your album.
In a lifetime, you can say, yes, you have instances of pleasure, of happiness, you like some of your work, but your work is the entire story, and if you are not satisfied with a few moments of a few parts of that story, you would like to be able to adjust that.
We have lost our vision for the future. Before, we say, 'Nothing will be the same. Cars will fly, and we go to the end of the universe.' We have this kind of naive but exciting idea of the future. Now, the vision has been reduced to ways to select our garbage and how to survive global warming.
Emotions are the basics of any art form!
People are rejecting the power of the elite, but individuals such as Snowden are doing so in a positive way, trying to change things for the better. He is a very intelligent man and obviously interested in electronic music.
I have always been of the opinion that when those in power are promoting actions and ideals that risk harming or impeding us, people should stand up to this.
Snowden has demonstrated true love for his country. He has done something to improve the lives of people.
I always dreamed, when I started writing music, to find a way of immersing yourself in it.
The whole 'Electronica' project is about the ambiguous relationship we have with technology: on the one side, we have the world in our pocket; on the other, we are spied on constantly.
People who do music do it because it is all they can do. And that's me, I suppose. I can do nothing else.
I would say to anyone starting out that if their priority in life is happiness, then don't be a musician.
Pursuing music eats into your life to the point where there is no space left for anything else. You are lucky if you find a partner who is able to understand that, but even then, they will only understand it for a while, and then things get - you know, difficult.
I wanted to create a bridge between experimental music and pop.
The major rock instruments and classical instruments were designed for performance, for sharing the music with an audience, and then later people put microphones on them and recorded them. But for electronic music, the opposite was true - they're designed in laboratories, and later, we tried to put them on stage.
I feel very privileged to have played China, and the pyramids, all these fantastic places, but it created a kind of smoke curtain between the audience and me as a musician.
If you get rid of music, images, videos, words and literature from the smartphone, you just have a simple phone that would be worth $50.
Music, photography, media, film - it's all going to be free on the Internet. We have to accept it.
Think about when you listen to a song on the radio. You are not paying for it; it's not illegal to do it, because the rights have been paid for on top, beforehand, by the radio station, by the network. We have to find exactly the same kind of system with the Internet.
We should never forget that in the smartphone, the smart part is us creators.
I thought we had opposite visions of electronic music. Tangerine Dream and Kraftwerk had a very robotic, mechanical approach. I had a more impressionist vision - a Ravel/Debussy approach.
