I think whatever we've done as a band at The Clientele, we've done because it's so natural. Our "old" sound isn't really like any actual bands from old times. We take elements of past music styles and past sounds as a way to... this is going to sound very pretentious and perhaps overly thought-out, but as a way to strike chords of vague nostalgia, and strike chords of, "I've heard this before somewhere." That's what a lot of our music is about in terms of the words and ideas behind it, so we really use old sounds as a way to serve that agenda.

Cornelius Cardew's folk songs were very, very literal, and they were just about workers smashing their chains. It was like reading Das Kapital over a folk-song melody, and it's a spectacular failure, in my opinion.

I'm a huge Boards Of Canada fan. They're my favorite contemporary band. The interesting thing about Boards Of Canada is, they use analog and digital recording techniques, and nobody really knows how they get their sound. But I think that very warm, enveloping analog sound.

I think that's one of the problems with downloading mps these days. You never really get a chance to attune to a different logic, a different musical logic. If you hear a song and don't like it, you'll just delete it off your hard drive.

There's nobody on a normal income who can afford to live anywhere centrally, so everything becomes displaced and decentralized. The city [of London] becomes incongruent. It doesn't have any coherence anymore.

I was very lucky, because when I was at school, I had a great music teacher who would just take out these free-jazz records and play them for me. So it was in my early teens that I started to listen to jazz.

I think the music that's part of your heritage is what you spend a lot of your early life rejecting. The very idea of folk music would break me out in hives until I was about 28. But I think it's nice when you eventually do come back to it. It's like coming home, and you realize it wasn't so bad after all.