The technical reason why remastering is valuable is because, up to around the late 90s, there was this endpoint called zero, and you couldn't get louder than zero.

I love when things bend out of shape. That's why I love drum and bass music.

I wasn't making music for the sake of music but rather making music in the context of other music. At the same time, it doesn't mean I'm not going to try and do that some day.

A lot of people at my school could play the "Stairway to Heaven" guitar solo, but they couldn't play three chords of a Ramones song if their life depended on it because they didn't have the strength or ability to do it. But all I did was practice that, and the style that I eventually fell into is more focused than people would actually imagine.

You wind up listening to one song that you really like 30 times on YouTube and then you're done with it. That's the way it is.

Musically, I just think in terms of what's next. There's a lot of things I've always dreamed of doing, and I hope I get to them before I get too deaf.

The technical reason why remastering is valuable is because, up to around the late 90s, there was this endpoint called zero, and you couldn't get louder than zero.