Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.

It's actually very easy for democracy to disappear.

In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.

What happens with notation is that it reduces things to a language which isn't necessarily appropriate to them. In the same way that words do, you get a much cruder version of what was actually intended.

I want to make things that put me in the position of innocence, that recreate the feeling of innocence in you.

I wanted to get rid of the element that had been considered essential in pop music: the voice.

Everybody thinks that when new technologies come along that they're transparent and you can just do your job well on it. But technologies always import a whole new set of values with them.