You'll get this kind of psychological relationship to the imagery of the music, but that idea is translated to iPhone apps. It's translated to the small, you know, kind of icons on your computer. You name it.

Sound... if you look at bats you know that navigate with sonar, they're like you know they're very precise. They can even see a bat head towards a building and swerve away, but you'll see a bird that doesn't... you know smash right into a glass window. It's very funny.

On one hand you have a string quartet, which is not a symphony. On the other hand is you have me sampling them and making it sound like there is many more people playing, so the whole notion of, kind of, sampling applied to classical music is very intriguing to me because composers throughout history have borrowed motifs and quotes from one another.

The easiest thing I can say is simple, but paradoxical in this era of total sampling: Be original.

I'd say most of my work is just trying to make sense of the disorienting and overloaded world that we inhabit. We're bombarded with sound at every level.

The name [Spooky] comes from well back in university I was doing a series of essays and writing about Sigmund Freud's idea of the uncanny and I was really intrigued by this idea of "The Unheimlich".

Sleep is crucial and I tend to find when the sun is shining I find it much more difficult to get that sense of sleep.