Think inside the work - outside the work

For instance, I'm always fascinated to see whether, given the kind of fairly known and established form called popular music, whether there is some magic combination that nobody has hit upon before.

It's nice, I think, when people use your music for things you didn't think of.

For the world to be interesting, you have to be manipulating it all the time.

I'd rather hold one note for an hour and modulate it so that it means something than play 3,000 notes in 15 seconds.

All music has political dimensions because it suggests a way of being.

The micro-compositions are the pieces themselves, but the macro-composition is the whole set of them and how it moves from track to track and how the titles relate to one another, for example. Always when I do records like this of a selection of instrumental pieces - the titles, to me, are very important.