Painting, I think it's like jazz.

I take sounds and change them into words.

If you watch any good player, they're using different parts of their body and working with instruments that respond to those movements. They're moving in many dimensions at once.

If you think of the way a composer or say a pop arranger works - he has an idea and he writes it down, so there's one transmission loss. Then he gives the score to a group of musicians who interpret that, so there's another transmission loss. So he's involved with three information losses. Whereas what I nearly always do is work directly to the sound if it doesn't sound right. So there's a continuous loop going on.

Even though I'm known as a pop musician, I have a seriousness about what I do.

Sometimes something intrigues me about particular sounds, how they work together, and I think "Okay, I've found something here; I'm going to take it somewhere." And sometimes just to find a name for that sound, whatever it is, ends up becoming a title of the piece or becoming part of the title.

It's not the destination that matters. It's the change of scene.