Whenever there's a new music, there's a new way of listening. And whenever there's a new way of listening, there are new musics that follow from that. And people start listening differently - that can either mean in different places or at different volumes or in different social groups or through different technologies.

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.

I enjoy working with complicated equipment. A lot of my things started just with a rhythm box, but I feed it through so many things that what comes out sounds very complex and rich.

I prefer to shoot the arrow, then paint the target around it. You make the niches in which you finally reside.

Also something that you don't have to listen to from beginning to end - you can enter at any point and leave at any point.

A big ego isn't necessarily a bad thing. A big ego means that you have some confidence in your abilities, really, and that you're prepared to take the risk of trying them out.

I take sounds and change them into words.