I'm bloody awful at multi-tasking.

Of course, like anybody I repeat myself endlessly, but I don't know that I'm doing it, usually.

All cultures have these feelings about non-functional areas of activity. And the more time people have on their hands, the more they commit it to those areas.

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

The problem with improvisation is, of course, that everyone just slips into their comfort zone and does sort of the easy thing to do, the most obvious thing to do with your instrument.

You can hear the profile of a sound, in retrospect, so much more clearly than you did at the time. And I think one of the things that's going to be nauseatingly characteristic about so much music of now is its glossy production values and its griddedness, the tightness of the way everything is locked together.