If I had a stock of fabulous sounds I would just always use them. I wouldn't bother to find new ones.

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

Instead of shooting arrows at someone elses target, which Ive never been very good at, I make my own target around wherever my arrow happens to have landed. You shoot your arrow and then you paint your bulls eye around it, and therefore you have hit the target dead centre.

My shows are not narratives.

I think audiences are quite comfortable watching something coming into being.

My lyrics are generated by various peculiar processes. Very random and similar to automatic writing.

We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That's occasionally what happens. What more often happens is that we settle on some sort of - a few sort of structural ideas, like, "Okay, when I put my finger up, we're all going to move to the extremes of our instruments. So, that means you can only play either very high or very low or both. And we're going to stay there until I take my finger down.