We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That's occasionally what happens. What more often happens is that we settle on some sort of - a few sort of structural ideas, like, "Okay, when I put my finger up, we're all going to move to the extremes of our instruments. So, that means you can only play either very high or very low or both. And we're going to stay there until I take my finger down.

If I had a stock of fabulous sounds I would just always use them. I wouldn't bother to find new ones.

It's actually very easy for democracy to disappear.

I cant duplicate my own successes, because part of the creation of that effect is making something happen that you didn't expect

Also something that you don't have to listen to from beginning to end - you can enter at any point and leave at any point.

When you make something you are always offering some choices and denying others.

The seven white notes on the piano - each section of the piece (there are 12 sections) is five of those seven white notes. If you calculate it, there are 21 groups of five notes in any group of seven notes. And although there are 12 sections, this piece actually uses nine of those groups because some of the sections repeat earlier ones. So that's the formula. It's very simple as a way of generating something. It's my inner minimalist.