The trouble begins with a design philosophy that equates 'more options' with 'greater freedom.'

So I believe in singing to such an extent that if I were asked to redesign the British educational system, I would start by insisting that group singing become a central part of the daily routine. I believe it builds character and, more than anything else, encourages a taste for co-operation with others. This seems to be about the most important thing a school could do for you.

Quite often, and in fact more often, I would say, I'm struggling all the way through to think, "What is it I like about this? What is the personality of this thing I'm hearing that I like so much?" And it's nearly always a sort of mixed emotion, which is why I like it. It's something that I have mixed feelings about in the sense that it's both, say, placid and dangerous, or bitter and sweet, or dark and bright.

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.

Everything is an experiment until it has a deadline. That gives it a destination, context, and a reason.

The lyrics are constructed as empirically as the music. I don't set out to say anything very important.

I do love being in my studio. Especially at night.