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.

If there is a new fascism, it won't come from skinheads and punks; it will come from people who eat granola and think they know how the world should be.

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.

Whenever there's a new music, there's a new way of listening. And whenever there's a new way of listening, there are new musics that follow from that. And people start listening differently - that can either mean in different places or at different volumes or in different social groups or through different technologies.

If you had a sign above every studio door saying ‘This Studio is a Musical Instrument’ it would make such a different approach to recording.

Being an artist is a job for life.

As soon as I hear a sound, it always suggests a mood to me.