Randomness has an incredibly powerful place in our culture. If you think about it, you can see it driving the algorithms that run our information economy, patterns that make up the traffic of our cities, and on over to the way the stars and galaxies formed.

So Bach, Beethoven, Duke Ellington, Thelonius Monk, these are all people who would sort of rearrange or take riffs from people. Same thing with rock, if you look at the Rolling Stones doing a cover of Otis Redding or you know if you look at literature James Joyce is pulling fragments of text from other people.

When you say what is the difference between me and my stage name the idea is that as a musician you always think of yourself as inhabiting a certain cultural space in the kind of a cultural landscape, so when I say cultural space what I mean to imply there is that you exist within certain parameters of how people think of culture.

So sound art I'm always intrigued with how little we use of other senses and we just prioritize the eye and you just want to see everything and navigate. You know the art world is similar. Like I wish people would use their ears a lot more.

If you don't understand the past, the future won't make much sense either.

I wanted to do with Antarctica was say let's hit the reset button on that and see what happens to your creative process. Let's go to the most remote place that you can imagine, set up a studio and see what music comes out of it.

One of the main things that differentiates them [artists of 70s] from artists before is that they made albums based on the fact that they didn't care about the band as a thing in its own right. They cared about manipulating the recording and that became the album.