I hate the way CDs just drone on for bloody hours and you stop caring.

One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn't if you knew better.

When I've finally got the title, I think, "Okay, yes, now I know where we are. Now I know what it is. Fine, that must be finished or nearly finished.

Another way of working is setting deliberate constraints that aren't musical ones - like saying, "Well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." Those are the sort of visual ideas that I can draw out on graph paper. I've done a lot of film music this way.

I think one of my pursuits over the years is trying to answer the question of 'what else can you do with a voice other than stand in front of a microphone and sing?'

My interest in making music has been to create something that does not exist that I would like to listen to. I wanted to hear music that had not yet happened, by putting together things that suggested a new thing which did not yet exist.

I felt extremely uncomfortable as the focal point, in the spotlight. I really like the behind the scenes role, because all my freedom is there.