A big part of making music is the discovery aspect, is the surprise aspect. That's why I think I'll always love sampling. Because it involves combining the music fandom: collecting, searching, discovering music history, and artifacts of recording that you may not have known existed and you just kind of unlock parts of your brain, you know?
I'm not that big a fan of sampling. But I feel like if I'm going to do it, I'm going to do it to where it's more of a reimagining of a track. The songs that I do utilize samples on, most of it you wouldn't even be able to tell what it was unless I told you.
I don't believe in sampling some Tibetan music just to make it sound groovy, but you do your homework, you understand what you're doing with it.
A band like Depeche Mode would go out and record them hitting a trash can with a steel rod or something and recording it. And that would be one of their sounds of the drums. I love the creativeness of that kind of really raw sampling.
My job ranges from creating the initial overall theme of the season, to developing fabrics and sketching to sampling and fitting.
Sampling, statisticians have told us, is a much more effective way of getting a good census.
I wrote and produced millions and millions of selling records, so my publishing company alone was worth millions of dollars. I didn't have to work anymore in life because when the rappers started sampling... I'm the most sampled artist in history.
I was listening to a lot of hip hop, music like Public Enemy that was about raising consciousness, and I realised I could feed that directly into my work, using images in a way that was a bit like sampling - taking images from diverse places, exploring the contradictions without trying to hide the seams.
There are a lot of people who really abused sampling and gave it a bad name, by just taking people's entire hit songs and rapping over them. It gave publishers license to get a little greedy.
I don't do that much sampling. I create all my own sounds.