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.

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.

I think one of my pursuits over the years is trying to answer the question of 'what else can you do with a voice other than stand in front of a microphone and sing?'

One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn't if you knew better.

Pop is totally results-oriented and there is a very strong feedback loop.

I make a lot of pieces of music that I never release as CDs.

I describe things in terms of body movements. I dance a bit to describe what sort of movement it ought to make, and that's a good way of talking to musicians. Particularly bass players.