I mostly used the studio devices, because I knew what they had. Generally I find I'm happy to use whatever's around. If there's nothing there I'll make something. For example, one of the things I tried doing was getting a tiny loudspeaker and feeding the instruments off the tape through this tiny speaker and then through this huge long plastic tube - about 50 feet long - that they used to clean out the swimming pool in the place where I was staying. You get this really hollow, cavernous, weird sound, a very nice sound. We didn't use it finally, but nonetheless we well could have.

I know that if I had a television in my flat I would convince myself that everything on it was really interesting. I would say, 'I'm a Celebrity - Get Me Out of Here!' is so sociologically fascinating that I think I'd better watch.

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.

Well, I am a dilettante. It's only in England that dilettantism is considered a bad thing. In other countries it's called interdisciplinary research.

The biology of purpose keeps my nose above the surface.

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

All music has political dimensions because it suggests a way of being.