Antarctica, one of the things that was so remarkable about it was that the ice itself is a kind of pure geometry, so say, for example, if I was facing someone wearing I don't know, a Joy Division t-shirt with the mountains on it or something like that.

I have to deal with some dumb folks. It's a real drag.

DJ culture is all about collage - sampling, splicing, dicing - everything is part of the mix, and there are no boundaries between sound sources. When you apply the same logic to the environment, there's a lot of room for mapping sampling techniques to the environment itself.

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.

When you think about a composer you know like Wagner or Pier Boulez or something like that most of the issues a composer is working with are about discreet, notated music that someone else will play.

When you're coming up with different ways of getting old memories to transform - you're scratching, you're doing all this kind of sampling - what ends up happening is that you're becoming a kind of writer with sound.

Watching 40 mile chunks of ice break off of Antarctica will change your life forever, but realizing that driving a car, or flying a plane, or having a nice steak, or drinking from a plastic bottle all contributed to the destruction of the environment - it's a bit complex, but music needs to pave the way for getting people to think about this kind of complexity. I'm just doing my share.