Michael Dumontier Quotes

I waste a lot of my time documenting my "search for great esoterica" online. It gets so complicated trying to identify or give credit to all of one's influences.

I think it's great that people now have access to Pro Tools and other recording software at home. I've never understood how anyone could be comfortable in a recording studio

A lot of my friends have been collectors, and I owe a lot to them. I'm always interested in sharing collections and learning that way. I used to trade tapes a lot. I still have a few friends who I trade music with, but it's hard to find the time. I miss that.

I often find things at thrift stores and library sales that I never could have been looking for. In those cases, the research is done after the fact to figure out what, exactly, I've found. It's surprising how much out there still has no online presence.

Drue [Langlois] and I started making music together before we started the Art Lodge, so I guess musical collaboration came first. The music we made, and our performances, always had a visual component. I could never play an instrument, so these other elements compensated for that a little.

I have to listen to music while I'm working. Music is essential. It's at the top of the pyramid for me. I've always felt disappointed in what I've made when I held it up to the music I love. I try not to compare them now.

These days, I find it harder to listen to really trebly lo-fi recordings. At the same time, without the old limitations, these new technologies require self control. So much of the software seems to be about correcting imperfections - quantizing, Auto-tune - and, to me, those corrections can really drain the life out of a performance.

I'm fond of online testimonials: people writing about their experiences with ghosts or drugs or bad boyfriends.

In art school, I started to see Pettibon in magazines, and I figured it out backward. I was into the idea that someone could show work in galleries while making album covers and photocopied books.