Fred Frith Compose Quotations

We played some gigs in Switzerland a couple of weeks ago and it was the first time I really felt the group was really a band in the sense of something I could write for.

One of the things I particularly enjoyed doing was taking raw sound from locations during the film, like the candy machine, and writing pieces of music to go with them, which is totally unnecessary within the context of the film, because they have their own logic.

Not necessarily in one concert, but they're all there to be used if you want to use them.

And so many of the kinds of labels you get stuck with don't really tell the story; Progressive, Art Rock, Noise Music, Downtown - it ends up being a struggle to stay out of debates that other people are having around you.

Some things don't wind up sounding like you'd expect, which is just as well.

Chris Cutler was kind enough to offer his company as an umbrella, so now I can have all my back catalogue under one roof as it were, and it has the same feeling as with Daniel; this is a matter between friends rather than businessmen.

We went through this business of me writing out all the parts for these old songs from Gravity and Speechless and we'd been performing that, but we don't do that any more.

I'm usually pretty careful about that kind of thing, but sometimes the music just pushes me into a direction that I can't really avoid following.

All the time signatures we used on Gravity were taken from folk music cultures, where those kinds of time signatures are quite normal.

It struck me as not very interesting just to take what was exactly in the film and stick it on a C.D. and put it out as a soundtrack.