“Most girls my age don't appreciate this kind of music. In my opinion, this is real music. It's haunting, poetic, and carefully-crafted. Not that techno teeny bopper crap that only sounds good because of all the machines the record label uses to make it.”

“Of all records, Chase, Some Girls! It was in a clutch of the most horrendous crap, J. Geils Band, Sniff 'n' the Tears, the kind of albums you'd use for landfill.”

“The "real stuff" is what he calls the music that is piped in through the speaker in the machine. The music that comes from inside my head is not considered real.”

“They talked about record labels, about how the majority of labels didn't care anything about the music, they just wanted a pretty face they could saturate the media with. The people who were doing the good stuff weren't being signed. "Same with radio," Ruby said. "It has nothing to do with music. For the station, music is just the noise in between the ads." "No shit. It's even hard to tell the songs from the ads." "I know. It's like solid ads." "And nobody cares. Nobody cares that they're being spoon-fed shit. They just think, I like this shit because everybody else likes this shit.”

“This is... an attempt to find some of the important fault lines in the narrative of "recorded history"--the points where people with access to the technology decided that *this* was how recordings should sound, and *this* is what it means to make a record. Ultimately, this is the story of what it means to make a recording of music--a *representation* of music--and declare it to be music itself.”

“This is me trying to bridge the gap and make a record that I’m truly proud of, I’ve got my 80s side and my indie side, my super pop slant and the electronic music that I love. I wanted to make happy, feel-good music. It all comes from an organic place”