For me it's always contingent on getting a sound-the sound always suggests what kind of melody it should be. So it's always sound first and then the line afterwards.

I want to make things that put me in the position of innocence, that recreate the feeling of innocence in you.

Art is not an object, but a trigger for experience.

Repetition doesn't really exist

We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.

I'm actually an evangelical atheist, but there is something I recognise about religion: that it gives people a chance to surrender.

When you look back on a historical period of music, it seems so obvious to you what the characteristics of it are, but they're not obvious at the time. So, when I look back at my own work, I could easily write a very convincing sort of account of it that made it look like I had planned it all out from day one and that this led logically to that and then I did this and then that followed quite naturally from that. But that's not how it felt.