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.

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.

I think record cover sleeves really led towards, but at the same time the album as we know it didn't come into being until mainly after the Second World War because record labels realized they'd be able to make a lot more money putting all the singles of an artist onto one album and selling the whole album as a kind of a concept.

Usually bands would make a song to record for an album, but what happens with the deejays you say "Well the album is everything we need. Thanks band. You can go away now."

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

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.

I felt like on one hand the clarity of thought was amazing, but on the other we went during Antarctic summer, so the sun didn't set the whole time we were there.