So the physicality of that and the just the sheer lack of urban noise and machinery - just the wind, the water and your breath, you know that kind of thing - it was pure poetry and you know I treasure that.

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.

You know we're in a planet surrounded by certain kinds of frequencies and noise. The earth's magnetic sphere makes weird sounds. The sun you know the heart of our solar system makes noise. Even interstellar phenomena like black holes. You know people have studied them and a black hole can emit sound in like the range of 20,000 octaves below B flat.

In fact, if you look at the root word of phonograph it just means phonetics of graphology, phono-graph, writing with sound, so graphology. You know graffiti, same root word.

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."

I'd say most of my work is just trying to make sense of the disorienting and overloaded world that we inhabit. We're bombarded with sound at every level.

Downtown New York, I'm within certain styles of music and I'm also within certain cultural, you know, and literary context. So DJ Spooky was meant to be a kind of ironic take on that. It was always meant to be kind of a criticism and critique of how downtown culture would separate genres and styles because it was ambiguous. You couldn't fit it into anything and that was the point.