Our contemporary life is based on information that can change at any time.

If I take that person and play them as a record I'm becoming not only a conductor and composer of collage, but at the same time I'm looking at a whole layer of what goes into copyright law, who owns those memories, who owns the way that that sound gets remixed and transformed and above all how much fun it is to actually just mess with other people's stuff.

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".

It's like the iPod playlist has killed the way we think of the normal album, so let's think of this as just saying you go into your record store and all those categories and all those different ways of segregating music have been thrown out the window, so the difference between myself in real life in that is that I'm the opposite.

I like the idea of it as a trickster motif. You know like you're kind of just messing around with people's memories of songs.

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

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.