My kind of composing is more like the work of a gardener. The gardener takes his seeds and scatters them, knowing what he is planting but not quite what will grow where and when - and he won't necessarily be able to reproduce it again afterwards either.

With all fashion, what we do is play at being somebody else. We play at inhabiting another kind of world.

Agressive music can only shock you once. Afterwards its impact declines. It's inevitable.

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.

The artists of the past who impressed me were the ones who really focused their work.

The tools are evolving, and people's interests are evolving as well. So, suddenly people like to hear bands, people like Devendra Banhart or the xx, bands that make a kind of virtue of sloppiness. That isn't what they would describe what they're doing, but the fact is they make a virtue of the sort of hand-made nature of what they're doing.

Feelings are more dangerous than ideas, because they aren't susceptible to rational evaluation. They grow quietly, spreading underground, and erupt suddenly, all over the place.