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

Editing is now the easiest thing on earth to do, and all the things that evolved out of word processing - 'Oh, let's put that sentence there, let's get rid of this' - have become commonplace in films and music too.

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.

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.

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.

People always focus on people like me who use synthesizers, right, which are explicitly electronic and therefore obvious. "Ah, yes, that's electronic music." But they don't realize that so is the concept of actually taking a piece of extant music and literally re-collaging it, taking chunks out and changing the dynamics radically and creating new rhythmic structures with echo and all that. That's real electronic music, as far as I'm concerned.

When people censor themselves they're just as likely to get rid of the good bits as the bad bits.