One of the things that make Liars so fascinating after five albums, each one so completely different from the others, is that even though they play around with all the classic tropes of art-damaged angst-noise perv-rock, they exude a totally cheery and boyish enthusiasm onstage, goofing around with their keyboards and beatboxes.
I was the first artist, I think, to ever do an all-keyboard album. There were things that resembled it, like Stevie Wonder. A lot of his stuff was on keyboards, but he used brass and he used other things as well. I was the first artist, also, to use drum machines. I was really the one who kind of started that whole thing.
I grew up around electronic instruments. To me, the turntable is an electronic device. At the same time, I had access to drum machines and keyboards through my uncle; then track recorders into computers. At an early age, I was messing with computers more than most hip-hop musicians.
Ali Shaheed Muhammad
I played a lot of keyboards, but I really wanted to produce the sound that was in my head that I was trying to emulate on the keys. I wanted to do it for real. And it makes me look at the keys in a different way. So it's like I'm looking at the guitar and bass more like meat and potatoes and keys like coloring over top of it, you know.
Symphonies can generate a tremendous amount of sounds, beauty, and emotion. That is part of their human feel and sweetness. Keyboards, on the other hand, give us access to millions of sounds. When I put the two together, the result is unique, and it's not only pleasing to the ear, but produces emotional responses that neither of the two can achieve on their own.
While it is becoming increasingly obvious that the fundamental architecture of a system has a profound Influence on the quality of its human factors, the vast majority of human factors studies concern the surface of hardware (keyboards, screens) or the very surface of the software (command names, menu formats).
Lewis M. Branscomb
I have all these computers and keyboards and synthesizers, and I rattle away. For instance, with The Lion King I wrote over four hours worth of tunes, and they were really pretty -but totally meaningless. So in the end I came up with material I liked. We worked on The Lion King for four years, but I wasn't toying until the last three-and-a-half weeks properly. On Crimson Tide, on the other hand, I just went in and within seconds I knew what I wanted.
I started piano lessons at age six but didn't take music seriously until I was a teenager, when I thought about a career in music. I studied classical music, and my instruments were guitar and piano. I played keyboards in bands, and after high school I went to Vienna to study at the Academy of Music. I also became a session player, which culminated in my work with Tangerine Dream.
It had the old double keyboard, an entirely different set of keys for capitals and figures, so that the paper seemed a long way off, and the machine was as big and solid as a battle cruiser. Typing was then a muscular activity. You could ache after it. If you were not familiar with those vast keyboards, your hand wandered over them like a child lost in a wood. The noise might have been that of a shipyard on the Clyde. You would no more have thought of carrying one of those grim structures as you would have thought of travelling with a piano.
J. B. Priestley
But I always wanted to do a theatrical stuff. But when you're in a metal band of course you're limited because five people in the band, um, you've got no keyboards... you're limited. And I wanted... to go over-the-top, you know. Literally. I wanted to make an album that people would either hate or love.
Arjen Anthony Lucassen
I do take a computer to do some processing live and I might use a couple of plug-in synthesisers, 'cause obviously you can take quite a lot of power in terms of sound generation on a computer that I can trigger from a couple of keyboards. And it means I don't have to take some of my vintage stuff and have it trashed by various airlines which has happened in the past. But I still take some vintage stuff with me, I'll take that risk because I like using all that stuff.
Well, I've heard a lot of people, but I think I would say a Brazilian musician named Hermeto Pascoal was one of my biggest influences. Through the years he mastered the keyboards. He use to play the organ Hammond B3, flute, saxophone, percussion and guitar. He is one of the most complete musicians that I ever met. Not too long after we came to the United States, Airto Moreira introduced him to Miles Davis, who recorded three of Hermeto's compositions on his album "Live Evil.
It was a matter of not seeing the woods for the trees. Glorious songs have been in Ireland forever, but a lot of these were so popular they were sung only by drunken men at weddings. They didn't have any regard for the song at all. So, I picked out 14 songs that I had grown up with, songs with great melodies. After 35 years as a songwriter, I appreciate the value of a good melody because I know how hard it is to write one. So I presented them in a new way, with piano, keyboards, strings, and a contemporary rhythm section. I just treated the melody with a bit of dignity and a bit of style.
DON'T LET ME TELL YOU HOW TO SHINE KID GET ON THE BUS LIKE I DID, 20H MISS ROUND TRIP GET ON YO GRIND AND RHYME UNTIL YOU CAN'T SPIT JUST DON'T STOP, PRETEND YOU RAISED THE EYE LIDS YOUR BUSTER SCIENCE, TRUST ME IF YOU APPLY IT IT WORKS IT'S JUST FREE KNOWLEDGE FOR WHAT IT'S WORTH DESIGN YOU A LITTLE MIXTAPE, MAKE SURE YO SHIT IS FLAWED DO IT, NOW FORE YOU RUN OUT OF TIME SEE A LOT OF DUDES SICK WITH THE RHYME BUT INSTEAD OF HUSTLING THEY TALENT THEY JUST SIT AND THEY WHINE ME, I'M MADE FROM A DIFFERENT DESIGN FOR THE SHINE I JUST DO IT MAN AND I'LL NEVER LOOK BACK I'M A H-U-S-T-L-E-R, HUSTLER USED TO HUSTLE WORK AND NOW I HUSTLE PERCUSSION BASS LINES DRUMS, KEYBOARDS AND CUTS AND LIMITS THAT YOU COULD FAIL IN YO SOUL, I'M ON THE GO
Geeks are not the world's rowdiest people. We're quiet and introspective, and usually more comfortable communing with our keyboards or a good book than each other. Our idea of how to paint the Emerald City red involves light liquor, heavy munchies, and marathon sessions of video games of the 'giant robots shooting each other and everything else in sight' variety. We debate competing lines of software or gaming consoles with passion, and dissect every movie, television show, and novel in the science fiction, fantasy, and horror genres. With as many of us as there are in this town, people inevitably find ways to cater to us when we get in the mood to spend our hard-earned dollars. Downtown Seattle boasts grandiose geek magnets, like the Experience Music Project and the Experience Science Fiction museum, but it has much humbler and far more obscure attractions too, like the place we all went to for our ship party that evening: a hole-in-the-wall bar called the Electric Penguin on Capitol Hill.