In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.

The biology of purpose keeps my nose above the surface.

Be the first to not do what nobody has ever thought of not doing before.

One of the things you're doing when you make art, apart from entertaining yourself and other people, is trying to see what ways of working feel good, what feels right.

It's not the destination that matters. It's the change of scene.

I'm fascinated by musicians who don't completely understand their territory; that's when you do your best work.

Songs that don't depend on composition depend instead on performance - so the fire has to be there in the playing.