Frequently, I go straight into the studio and see what's around. I might hire a couple of instruments that I've never used - maybe a particular type of electronic organ or an echo unit. Then I just dabble with sounds until something starts to happen that suggests a texture. The texture suggests some kind of mood, and the mood suggests some kind of lyric. That's like working in reverse, often quite the other way around, from sound to song. Although often they stop before they get to the song stage.

It's easy to forget that your best work is done when your attention is fully engaged.

There is a sort of convergence starting to happen between the computer and musical instruments, but it's still quite a long way off.

Agressive music can only shock you once. Afterwards its impact declines. It's inevitable.

I hate talking about music, to tell you the truth.

The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one. A responsible designer might try to overcome this limitation - probably the engineers at Marshall tried, too. But that sound became the sound of, among others, Jimi Hendrix. That sound is called electric guitar.

My shows are not narratives.