Porter Robinson
Born on July 15, 1992, in Atlanta, Robinson was already working as a DJ and producer while still a teenager, an early start that put him on the radar of the electronic music scene before he'd finished growing up.
Robinson is a United States citizen who attended Woods Charter School before pursuing a career that spans several roles and genres. He works as a disc jockey, record producer, musician, composer, and recording artist. His early output placed him in the electro house genre, and that work gave him a foothold from which he continued developing as an artist.
Over time, Robinson expanded into indie pop and synth-pop, adding those genres to his body of work alongside his earlier electro house output. The breadth of genres he's worked across — electro house, indie pop, and synth-pop — reflects how his activity as a producer and recording artist has shifted across different areas of music since his start.
Quotes by Porter Robinson
I think it's important to form a connection with an audience to a point, but I also feel like there's an instructive element to what you're doing. And I think it's necessary to challenge people.
My most successful song was 'Language' and I think partly because it's a nice, dancey record, but I'll see people cry in the audience to that song, and that's so much more interesting to me than making someone just jump up and down.
One thing that scares me a little bit is that I want people to like my music, but I think a lot of what I like about my own music are these references to things that people don't share nostalgia with me on.
I came into having an artist's career in this very sheepish and directionless way. It's hard to explain, but I was 18 years old and I was ready to go to college; that was the next step for me. Then suddenly I had a song that blew up... and I had this artist's career and I was on tour with these big names and I didn't know what I was doing.
If you trust your instincts and it doesn't turn out right, OK. But if you compromise and defer to what somebody else is telling you and it doesn't work out, that feeling gnaws at me.
Toplines usually suck. I'll send a song to a band or artist whose entire body of work I love and I'll ask them to do a vocal for one of my songs and I'll get it back and I'll hate it so much. It might have to do with my possessiveness over my music.
When I'm writing good music and I'm caffeinated, I attribute all my success to the coffee, get really sentimental about the EDM scene and tweet a lot.
Writing music while caffeinated produces some interesting results. The stimulation basically amplifies my music-production-dependent bi-polarity.
