I wanted to do gigs where you've just got mirrors on the stage, and then you light the crowd so they look at the stage and all they can see is themselves. It's just like, "There you go, it's you, you cunts."

Because I've been making music and releasing it for so long, I've got that production-line thing in my brain: I can't do anything new until the last one's out.

A lot of composers before me have been on this mission to change the world by getting off equal temperament, and I'm definitely one of those.

Forget all the equipment, forget the music, at the end of the day it's just literally frequencies and their effects on your brain. That's what's everyone's essentially after.

It's not about what equipment you have, it's what you do with it.

I'm just some irritating, lying, ginger kid from Cornwall who should have been locked up in some youth detention centre. I just managed to escape and blag it into music.

If you've got a stick hitting a drum and you're programming it on a computer, it's so much more interesting than a sample playing back - it's something in the air, that's the magical ingredient.