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.

Stop thinking about art works as objects, and start thinking about them as triggers for experiences.

If you want to make someone feel emotion, you have to make them let go. Listening to something is an act of surrender.

In England and Europe, we have this huge music called ambient - ambient techno, ambient house, ambient hip-hop, ambient this, ambient that.

I suppose I am reluctant about being any sort of 'star' and I didn't particularly want to be portrayed as one.

When you sing with a group of people, you learn how to subsume yourself into a group consciousness because a capella singing is all about the immersion of the self into the community. That's one of the great feelings - to stop being me for a little while and to become us. That way lies empathy, the great social virtue.

Music in itself carries a whole set of messages which are very, very rich and complex, and the words either serve to exclude certain ones or point up certain others.