I'm Struck By The Insidious, Computer-driven Tendency

You Can Hear The Profile Of A Sound, In Retrospect, So Much More Clearly Than You Did At The Time. And I Think One Of The Things That's Going To Be Nauseatingly Characteristic About So Much Music Of Now Is Its Glossy Production Values And Its Griddedness, The Tightness Of The Way Everything Is Locked Together.

Avant-garde Music Is Sort Of Research Music. You're Glad Someone's Done It But You Don't Necessarily Want To Listen To It.

Quite Often, And In Fact More Often, I Would Say, I'm Struggling All The Way Through To Think, "what Is It I Like About This? What Is The Personality Of This Thing I'm Hearing That I Like So Much?" And It's Nearly Always A Sort Of Mixed Emotion, Which Is Why I Like It. It's Something That I Have Mixed Feelings About In The Sense That It's Both, Say, Placid And Dangerous, Or Bitter And Sweet, Or Dark And Bright.

If You're In A Forest, The Quality Of The Echo Is Very Strange Because Echoes Back Off So Many Surfaces Of All Those Trees That You Get This Strange, Itchy Ricochet Effect.

For The World To Be Interesting, You Have To Be Manipulating It All The Time.