"I am all about electronic music and Detroit is a place where certain prominent styles of electronic music and culture were born. I will always love New York and I will always be a New Yorker, but I needed a change and was excited about being around more of the electronic subculture."
Klayton
"Somebody will ask those of us who compose with the aid of computers: 'So you make all these decisions for the computer or the electronic medium but wouldn't you like to have a performer who makes certain other decisions?' Many composers don't mind collaborating with the performer with regards to decisions of tempo, or rhythm, or dynamics, or timbre, but ask them if they would allow the performer to make decisions with regard to pitch and the answer will be 'Pitches you don't change.' Some of us feel the same way in regard to the other musical aspects that are traditionally considered secondary, but which we consider fundamental. As for the future of electronic music, it seems quite obvious to me that its unique resources guarantee its use, because it has shifted the boundaries of music away from the limitations of the acoustical instrument, of the performer's coordinating capabilities, to the almost infinite limitations of the electronic instrument. The new limitations are the human ones of perception." Quoted in Classic Essays on Twentieth-Century Music, ISBN 0028645812.
Milton Babbitt
"The whole Trent Reznor reference... I've had that for years and I think it's just simply because I'm one guy doing music and he's one guy doing music. I mean I can't really say Nine Inch Nails has been a real big influence musically on me but I totally respect what he does and that's totally great... For me, it's more about the european styles of electronic."
Klayton
"I just let everybody else decide for me what Celldweller sounds like. I love electronic music. I love technology. I love aggressive guitars and bass. I love live drums. I love lush vocal melodies. I love sensual atmospheres. The list goes on. I suppose Celldweller is some amalgam of all of these and then some."
Klayton
For me the future of the image is going to be in electronic form. ... You will see perfectly beautiful images on an electronic screen. And I'd say that would be very handsome. They would be almost as close as the best reproductions.
Ansel Adams
"I remember creating and experimenting with Klay Scott of Circle Of Dust, pre-Circle of Dust, in his basement with guitarist Billy Poulos. I remember thinking 'Wow! We really have something here.' We were making innovative electronic industrial-influenced music in 1991 which included Poulos' Cocteau Twins/The Cure-like guitar sound and my Proverbs-like poetry over Scott's dark Industrial soundscape. At that time, it was rare to have guitar in industrial music. My use of poetry and delivery was unique and there wasn't any Christian Industrial music. To tell you the truth, I have never heard anything like it since. We split as friends when Scott wanted to include more heavy metal in his music and sign with the Christian label REX Records as Circle Of Dust, and Poulos and I wanted us to get a secular record deal as relevant Christians with alternative music sort of like U2 did. I remember Billy 'The Toxic Banana' Poulos and I sitting in my apartment in those days when we first met and turning Klay Scott on to all kinds of electronic music including what are now some of his biggest influences like Skinny Puppy. Ironically, Klay Scott would later influence a lot of his influences back." Billy Lamont HM Magazine 2004 note: spelling and grammar changes were made and the quote was trimmed down
Klayton
Klayton
Klee, Paul
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