Dub music is like a long echo delay, looping through time...turning the rational musical order into an ocean of sensation.

Being a critic is a terrific method for killing your love of art.

There's a sense of trajectories that are extraordinary about a life like this. You can reconnect with people and go back to playing with them after years and years of not even knowing if they're alive.

I had ideas about music and sound and listening and time and so on that I wanted to pursue as an individual, and by doing that book, Brian [Eno] opened the door, and he decided to do a record based loosely on the book.

I'd just written the book Ocean Of Sound, and this terrible thing happened in my life: my wife committed suicide. I was a single parent because of that; I was completely shattered. I had a book that I'd just finished that had been produced through a really, really terrible period, but I had managed to finish it.

Every time when it comes to writing a book, I think, "I'm the last person in the world that should be doing this, I don't know anything, I can't do this." And I went through years of that with Into The Maelstrom.

I do still have dips of confidence or [can think] everything I do is rubbish.