Phonetics, you know speech, all this kind of stuff, phonograph, simple, but when you unpack the meaning it actually kind of expands out and that is what I was going for in my book "Sound Unbound" was to try and get people to figure out how do we unpack some of the meanings that go into these kinds of sonically coded landscapes.

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.

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.

It's an essay that Sigmund Freud wrote about E.T.A. Hoffman's short story called "The Sandman" where someone mistakes an inanimate object for a living, breathing human being. And one of the things that Sigmund Freud really felt was that in modern life people assign qualities to objects around them that may not exist there whatsoever.

So by the time the 60s rolled in that became a huge art form in its own right with bands like the Beatles and the Rolling Stones and Hendrix doing total concept albums, same thing with Pink Floyd.

Now if you think about the 20th century and the idea of visual vocabulary the album occupies a really important space in the cultural landscape and, above all.

For me, DJ culture - with its obsession with collecting records and archiving everything - predated the "cloud" concept with primitive material like the mixtape. Now we would call it "collaborative filtering" or something technical, but the impulse is the same - gather fragments, make something new. That is how you will bypass the climate-change skeptics: render them totally obsolete.