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All my collaborators unilaterally said that I need to just stay on one idea for longer. And of course I understand that. I like to switch gears a lot, and I like this kind of sloppy attitude.

Yeah it would be really cool to disappear. Like Jack Nicholson in 'The Passenger.' Isn't that the final frontier? Being able to erase everything everyone knows about you and just be a stranger has become extremely seductive.

The promotional cycle's this staging area for failure. I hate it! Why bother when everyone's either gonna steal the album or copy it?

Kitsch is very important to me.

I just like cliches. I like tvtropes.com. It's pretty much my bible.

It's sad to me that the main stage of history is a story of how we became this visually obsessed, extremely narcissistic, extremely concerned about image, culture. At least in the West.

I like explication of ideas, even if I'm wrong or even if it's a struggle or if it's a work in progress.

I was born in '82 and there were these bizarre wars, explained through mass media in ways that made no sense. I remember watching the Gulf War through night vision. That was sold and propagated as a showbusiness moment for the news.

I was never totally sold on this idea that I'm just a musician. I wanted to be the Tim Burton of music.

It's stupid and embarrassing that you can describe something to one person and not to another. Until I've solved that problem I'm not going to feel like I've achieved too much.

I had it calcified inside me that that was the ultimate state of composing. Being Brian Wilson. Being simultaneously a genius and sort of lost at sea - not really knowing what you're doing but reaching for the stars.

We had a band called the Grainers. In our 12-year-old minds, this was like a double entendre for like being annoying and being a delicious donut. I got kicked out of the band for playing bass incorrectly. Like, I was playing it like a guitar. I was just so like twee and British, even as like the little 12-year-old boy.

I'm like soft Ray Manzarek. I think of the keyboard as almost like a bass or a lead.

I wasn't always totally interested solely in music as a sort of visceral expression of people in unison and synchronized, a federated expression of a group of people. I loved it as a wallflower, as a fan, but when I was in it, I always felt like I wasn't built for it.

I've made my most horrible inhuman tendencies work for me.

I need my 'art work' or 'entertainment work' or whatever to have empathy for or connection to the way I experience the world as a person.

I have a hard time making a linear-idea song, because that's not the way my thoughts work.

I'm down for indefinitely chilling as long as I'm not self-aware during it. That seems like it could be torture on some level but a lot of people pray for that so who knows.

I really don't care if anyone thinks I'm special or not, I just want to be able to live my life without thinking about money all the time, or where I'm going to get it.

I definitely strive towards something I think of as a hallucination of music. That's always been the OPN vibe. I think of it as mostly a felt thing, and a koan of feeling that is shared between me and OPN fans. We know what it is when it gets there.

To me, 'Garden of Delete' is a way of describing the idea that good things can bloom out of a negative situation. All the traumatic experiences I had during puberty, ugly memories and ugly thoughts in general can yield something good, like a record or whatever.

Eccojams are a very simple exercise where I just take music I like, and I loop up a segment, slow it down, and put a bunch of echo on it - just to placate my desire to hear things I like without things I don't.

John Martin was a great, complex folk singer, and later on, his music became more and more melancholic as he went through a separation with his wife.

Science fiction to me is the ultimate art form, because it speculates on bodies and worlds that don't exist.

No one is mediating aesthetic choices on an OPN album other than myself.

Film scores are complicated puzzles that you need to figure out and solve very quickly, or else you're basically fired. You're hired to enhance the film and you only have a couple tries to prove that you are capable of that task. I can keep trying to enhance my album ad infinitum.

I think I'm a person that's very pessimistic about, like I'm not a luddite but I don't think we need to crack the code of technology and bring forth a future techno utopia.

I'm predisposed to believe we live in a complicated, enmeshed reality. There's no authentic or organic.

I'm not much of a crier, actually. You know, I tend to cry and get sappy on planes.

When I make music I try to be as honest as I can to how I experience the world. Like how you arrange a piece of music formally. I tend to observe a lot of chaos or whatever, the fragmentation and melancholy. That's the filter I synthesize my world view with. If I didn't formally have that chaos and it was really linear, it would make my skin crawl.

I am not an egghead in the least.

I basically am always chasing this super enhanced stimulation from music.

You look at somebody like Thurston Moore. Is he a noise dude? A punky dude? Is he a free jazz dude? He's a stimulation chaser, and I relate to that.

Before puberty, it seems like I was more or less smiling a lot. I was really outgoing and wanted to have a happy life.

I was a failed grunge kid who was too nerdy to totally get down with rock.

I was perpetually this B-minus kid vacillating between eagerness and depression. I wasn't a bad kid, and I definitely wasn't aggressive, but I was a sad kid.

For so many people, it's very hard to feel okay with success, because success is not cool. It supposedly tarnishes your thing; it ruins little pockets of scenes and the self-importance that comes from thinking you're the only people in your town that are doing something.

I knew my whole life that I had to make ends meet or I would be ashamed of myself. I had a lot of pressure from my parents. So that's where my vision comes from. It's not to be a great artist, it's always to be like, 'Dad, look, I didn't let you down.'

Film work can be anything from just really hard and stressful and you're subjected to really weird deadlines to really draconian and weird and disconnected. You're working in service of the thing, and that can be really amazing for everyone involved, or be kind of just a waste of time.

Music that is considered minimalism - or post-minimalism music in general - things of that nature or that come from that tradition, or even drone, or non-western music, have a more subtle and more open-ended verticality to them that allows for your own mind and body to be involved.

The way I think about things or hear things in my head is actually much closer to acoustic instruments. I don't have weird synthesized fantasy of music in my head.

Especially in repetitive music, to make a long piece of music you have to be extremely skilled in your sleight of hand. Just to make long form music it's very difficult and you really have to consider what you're putting someone through.

O.P.N. has always been about reaching for some kind of liminal state in which opposing aesthetic forces become entangled and confused and equal.

I loved Alva Noto's 'Xerrox, Vol. 3' a lot. It might be my favorite of his records. I must admit, I was bummed to see him say he was surprised by how emotional the record came out, as if he was ashamed. But there's something perfect about that.

I've lost so many gigs composing commercial or television music because I can't repress my inclination to work against conventions.

Nothing's ever easy about composing for other people's projects, but I like it. I've been lucky to have worked with adventurous directors who trust me.

Oneohtrix Point Never is total freedom to do what I think is right.

When people talk about how parameters can generate really good work, there's no better example than working within a genre in film. That's like the ultimate parameter.

As a movie fan, I remember Quentin Tarantino and Lawrence Bender and the sort of energy around 'Reservoir Dogs,' and the jump from 'Reservoir Dogs' to 'Pulp Fiction,' and how everybody was stoked on Quentin's career.

The easiest way for me to tell someone what I do is to say that I'm a non-musician who practises and produces music. I don't have a theoretical language for music. I have this abstract dream language.

I love seeing Tim Hecker perform because the experience truly shakes me.

The problem with depicting what's weird and what isn't is that it's got to this point of near total oversaturation. There's definitely a threshold at which that language and experience becomes tedious. How can something be weird if everything is apparently weird?

I think nostalgia used purely for the sake of emotional reminiscing is extremely boring.

To me everything is a material, and everything is subject to change. When I work with found sounds, I'm trying to figure out how do I make this come from me?

Growing up, I wanted to write films and make films. Even as I took this detour and stayed in the music world, I still think in terms of 'What is in this room? What is the shot? Who are the characters? What is the conversation here?' My sense of pacing is very filmlike, it's not musical.

Yeah, I guess generally I don't want things ever to be easy. While there's some danger of doing something that loses your personal stamp on things, I'd rather take the chance of doing that and do something slightly uncomfortable or hard for myself.

While I absolutely love a great drummer and get tunnel vision listening to drums at a show, a lot of the time I feel like drum machine-driven music tethers you to a genre.

I don't like straightforward drum sounds and hate snares; can't stand them.

If I'm not using something, I tend to sell it and move on, so I'm not too sentimental about hardware synths.

I love Ableton's vocoder and Operator for basic side subs and general low-end.

I need weird breakages to happen for music to feel true to life, and I think that also applies to good film scores.

When you're working in service to a big project, there's always the question of, 'Is there total freedom to do what I think is right artistically, or is this a job?' It's okay for things to be a job. I'm perfectly comfortable working. I don't need to sit around and quench whatever personal artistic thirst I have at all times.

I love thinking of music of this way to access some kind of illogical realm filled with all kinds of aberrations and weird stuff. It's not implicit in music to have a story, so it creates this incredible potential for vague stories.

I was always screwing around with music, but I really wanted to go to film school when I was in high school. I guess what happened was that I didn't get into Tisch, that's what happened. I got deferred. And I went to Hampsire and ended up making music like everybody else there.

I don't think I could make a good film, but I could definitely score a good film.

I realize that I've had Ian Van Dahl: 'Castles in the Sky,' the Ibiza jam, periodically stuck in my head for years, like years of my life. Every now and then 'Castles in the Sky' will just happen. Maybe that's some sort of indication that it's actually my favorite song of all time.

I'm basically like a dad; I've always been a dad.

The subject is missing from 'Replica' - it's about malleability of materials, and working with metaphor, and sculpting in time. So that makes a collaboration with another person who pushes sound in a sculptural way appealing, because you're like, 'Let's see what dimensionality is introduced from this other perspective that I might not have.'

That's a problem I have a lot of the time with humor in music, where it just kind of stops at the obvious level of: 'Hey, isn't it something that's in bad taste?'

There would not be Skaters or Emeralds or any of these bands if it weren't for Double Leopards.

I saw Double Leopards play at my school and realized there were other ways to approach noisy music that weren't necessarily aggressive. That became a very important concept for me as a musician. I don't think I would have been that interested in creating and performing my own music if it wasn't for this group.

My friend and I were in a band together and we used to always refer it it as 'floor-core,' meaning that we would sit on the floor and play stuff.

It's not like I actually understand the properties of sound.

I'm not a scientist.

I'm super into dudes like Megazord, Jon Rafman, Rasmus Emanuel Svensson, Tabor Robak, and Michael Willis to name a few.

OPN is completely off the grid. Its like the slime underneath techno and other synth-oriented music.

Games is like hardwired plumbing in the house of pop. It's not pop itself, its sort of like the behind-the-scenes arteries and capillaries of pop music.

Games isn't really pop music, and neither is OPN. Both are part of the same ecosystem and both deal with exploring the undercurrents of pop music.

Generally my response to seeing something really symmetrical and perfect is... it's the scene with Jack Nicholson's Joker in the first 'Batman,' the museum scene. Him just spray-painting the Mona Lisa, and whatever, with his goons.

The dumber the thing is, the more excitement I get from imagining a very complex world of truth around it.

The thing that I've always been a little bit jealous of is a complete, a total giving to one form, like a genre, and just a mastery of it. My thing is very different. It's a complete embrace of something, but I've never been able to say, 'I believe in this.' The only thing I believe in is that I'm in this perpetual state of disbelief.

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