Latest Stephen Mallinder Quotes from Interviews

Quotes about:

• You don't have to be trained in music to create sounds and to produce and release music. That's what we were saying back in 73-74. And that's the way the world is now - and all the tools of creation, production and dissemination are there in everybody's bedrooms, front rooms and studios.

  Stephen Mallinder

  Sound, Tools, World

  Source: www.artdesigncafe.com

• I think that's the fascinating thing that exists now. This contrasts with a celebrity art and celebrity music culture.

  Stephen Mallinder

  Art, Thinking, Culture

  Source: www.artdesigncafe.com

• Looking back, I think we were very much a part of democratizing music, and we wanted to demystify the process of making music - to show it's a myth.

  Stephen Mallinder

  Thinking, Process, Myth

  Source: www.artdesigncafe.com

• We were working in entertainment, in the music industry, with popular music, it was important, but it was something that we also felt was a responsibility.

  Stephen Mallinder

  Responsibility, Important, Entertainment

  Source: www.artdesigncafe.com

• Even if that statement was ambiguous, we kind of wanted to cause a stir. We thought that by having the name "Cabaret Voltaire", that with it came a certain responsibility. It wasn't meant to be purely entertainment; it was meant to be something a little bit more serious - and to provoke people - wrapped within an outer wrapping of entertainment.

  Stephen Mallinder

  Responsibility, Names, People

  Source: www.artdesigncafe.com

• I think you have a certain level of confidence in what you do. "Arrogance" is the wrong word. I think when you go into it, you're aware that you're doing it for the right reasons - and you have your own moral and ethical code. And we weren't driven by money, but by a a desire to make music and make a statement.

  Stephen Mallinder

  Thinking, Arrogance, Desire

  Source: www.artdesigncafe.com

• Crackdown had Dave Ball playing on it. Flood worked on our next album, and Adrian Sherwood worked with us on Code.

  Stephen Mallinder

  Albums, Balls, Next

  Source: www.artdesigncafe.com

• We also worked with Marshall Jefferson for Groovy, Laidback and Nasty. So we were lucky to work with some really great people.

  Stephen Mallinder

  People, Lucky, Nasty

  Source: www.artdesigncafe.com

• We had always used found sound, but we had always used it in an analogue way. And it was the early days of using collage and sound in a digital way. MTV, a couple of years later would be that way.

  Stephen Mallinder

  Couple, Years, Mtv

  Source: www.artdesigncafe.com

• We were fortunate at that time we were working with Virgin, and with Flood, probably more well-known as Brian Eno's engineer now and U2's producer, etc. Even though we weren't working in a strictly popular music area, which was great, we were lucky enough to work with people who were on the cusp of those sort of things.

  Stephen Mallinder

  People, Lucky, Etc

  Source: www.artdesigncafe.com

• As sonic journalists, we were increasingly becoming bombarded with global images. It was the early idea of the cut-up, the idea of images being juxtapositioned, which we were doing with sound. That was the early days of samples.

  Stephen Mallinder

  Cutting, Ideas, Sound

  Source: www.artdesigncafe.com

• Even though we were influenced by American culture and music, we like the rest of Europe have been colonized with that in the post-war period. At the same time there's a sense of dirty earthiness and Europeanness and Britishness in it as well.

  Stephen Mallinder

  War, Dirty, Europe

  Source: www.artdesigncafe.com

• One of the tropes of our videos is that they were very rhythmic with clipped edits.

  Stephen Mallinder

  Video, Tropes, Edits

  Source: www.artdesigncafe.com

• I think underneath it all [in the Big Funk] was a little bit of a Europeanness in it.

  Stephen Mallinder

  Thinking, Littles, Bigs

  Source: www.artdesigncafe.com

• I edited Big Funk, some of the footage was shot by Peter Care. We were film buffs as much as music buffs, and so there are film reference as well as sound references.

  Stephen Mallinder

  Sound, Care, Film

  Source: www.artdesigncafe.com

• I think in everything we did, there's a sense of tension and a sense of things pulling in a different way. It's interesting calling it "beat music". That's quite true, the rhythm is up to the fore, it's got a slap bass, and it's got "funk" in the title. But I think there's always a level of irony when we did those kind of things.

  Stephen Mallinder

  Thinking, Interesting, Titles

  Source: www.artdesigncafe.com

• Going there [Japan] in the early 80s was quite a culture shock. I think the bombardment of Shinjuku and all that would have filtered through, which certainly informed things we later filmed.

  Stephen Mallinder

  Thinking, Japan, Culture

  Source: www.artdesigncafe.com

• [Kino] worked really well as a song title, and to build into a lyric, and also how we embraced mulit-media at the time.

  Stephen Mallinder

  Song, Media, Titles

  Source: www.artdesigncafe.com

• I think probably underneath it all, film [Kino] has its own rhythm and its own dynamic, and we were trying to capture the movement of film and cross-reference it with music.

  Stephen Mallinder

  Thinking, Trying, Movement

  Source: www.artdesigncafe.com

• We've always been observant of things, and I think Crackdown was very much like that and the film interpretation was that journalistic view of that situation.

  Stephen Mallinder

  Thinking, Views, Film

  Source: www.artdesigncafe.com

• Some of it was shot in Berlin, but a lot of it was filmed in Hamburg, along the Reeperbahn in Hamburg in the famous red light district. Kino is obviously German and "film" and "cinema" and we were always cinematic in our thinking.

  Stephen Mallinder

  Thinking, Light, Cinema

  Source: www.artdesigncafe.com

• We've always been journalists - and have seen ourselves in that way. But we sort of recontextualized it through music.

  Stephen Mallinder

  Way, Journalist

  Source: www.artdesigncafe.com

• In that period, we had the Cold War mentality imbued through us - the Post-war [environment] and the Cold War. I think we were reflecting some of that. This was before the Wall collapsed, etc.

  Stephen Mallinder

  Wall, War, Thinking

  Source: www.artdesigncafe.com

• In the 80s, we were still living in a kind of Cold War environment.

  Stephen Mallinder

  War, Cold, Kind

  Source: www.artdesigncafe.com

• I think what we tried to do lyrically, vocally and musically was to capture a sound.

  Stephen Mallinder

  Thinking, Sound, Capture

  Source: www.artdesigncafe.com