I think it's fair to say we're both in the business of self-obliteration through music.

As soon as you think you have a firm idea you allow it to dissolve and you let go of it, particularly when it comes to a stylistic or aesthetic identity. In fact, you only really find out what it is when you deconstruct it; so, yeah, that's a sort of collage sensibility of having a lot of voicings coming from all over the place and not necessarily trying to shape them or try to commodify them. It keeps you in the living language... an opportunity to not be governed so much by intellect.

I remember Massimo [Pupillo] sending me an email from Tibet saying he was up in a cave somewhere, being very still. We found we had lots of shared affinities that we'd never really talked about before.

If you really were aware of the Earth in a singular context, putting it into the perspective of the galaxy, for example, then you would see that it is not infallible, that it is just part of a much bigger system that is part of a much bigger system and onward.

I don't feel like the real, transcendental sound experiences I've had in my life have anything to do with intellect.

The superabundance alludes to the myth that is ensuring our demise but it's also the space around and possibly the void that we enter into, beyond that delusion.

The superabundance is an ecological myth that we will never run out of resources, that the Earth, that Gaia, is in this perpetual state of renewal. And the "contagious magic" is the blind belief that this is the case, and the reason we're careering towards ecological disaster.