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.

Whales, for example, also navigate with sound, but they're now beginning to be beached because the ocean is getting too noisy. Weird things like that. I mean this is very real. Like, if you look at the satellites in the sky at night you know it's an eerie sense of we're.

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.

What I wanted to try and figure out was, okay, in contemporary 21st century life the alienation between the self and the land around you or the self and even the urban landscape. You name it.

And when I say permanent afternoon, you know, I’m talking like crystal clear, crispy blue sky. All the sudden you didn’t need to sleep as much because it just was difficult. And how that translated into my creative process I still am not quite sure, but it made my relationship to sleep a kind of abstract you know bizarre…

In my book "Sound Unbound" we traced the guy who actually came up with the main concept for the graphic design of the record cover sleeve. His name is Alex Steinweiss. And one of the things in my book that we really tried to figure out was the revolution in graphic design that occurred when people put images on album covers.

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.