I was a big fan of Middle Eastern elements of music and experimental electronic and tribal sounds.
The hardest thing in the world to do is to have someone in a seat in a theater laughing so hard that they're making weird sounds.
For me, it's just more satisfying when you follow the rules rather than just make a bunch of sounds. The magic of just making noise in the studio goes away after a while.
What I try to do with the accent of any character I play is not necessarily to do something that's generic - an Indian accent and that's how it sounds, for example. I think the accent needs to sound authentic on this person.
As you can appreciate over my lifetime I've developed a large vocabulary of sounds each requiring certain physical techniques often combined with a specific effect box.
My music sounds different because the techniques are archaic, seeing as most people only record digitally.
I know all my different formulas to get certain sounds. I've been doing this so long that I don't experiment anymore. Or let me rephrase: I've been doing this so long that I don't have to experiment as much. You always want to evolve and change, but if I go in and I know it's a certain type of song, I know exactly where I'm going to place the mics.
Pardon me if this all sounds corny, but when you put on a record, I'd like it to be an escape from everything you do.
My definition of hip hop is taking elements from many other spheres of music to make hip hop. Whether it be breakbeat, whether it be the groove and grunt of James Brown or the pickle-pop sounds of Kraftwerk or Yellow Magic Orchestra, hip hop is also part of what they call hip-house now, or trip hop, or even parts of drum n' bass.
The thing that's good about Hip Hop is that it has experimented with a lot of different sounds and music.
