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…

I think science fiction and sound is a really interesting thing. You might as well think of it as sonic fiction.

Sound... if you look at bats you know that navigate with sonar, they're like you know they're very precise. They can even see a bat head towards a building and swerve away, but you'll see a bird that doesn't... you know smash right into a glass window. It's very funny.

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.

So he [Sigmund Freud] called this "the uncanny" and he also referred to cities as well, like the idea of walking through the city and the way the urban landscape could lead you to a sense of disorientation and to a kind of, you know, sense of repetition. And the way a city can unfold as you walk.

It's strange to think that culture is simply a matter of millions of files flying around, but we now think in terms of networks for everything.

Now if you think about the 20th century and the idea of visual vocabulary the album occupies a really important space in the cultural landscape and, above all.