Over the years I have tried to develop something which is technically assured.

Music history has flowed under the bridges for many years.

I have friends who have a CD mastering plant in Hollywood and they are very sceptical about European record labels' understanding of digital technology.

There's another way of making music, by touching the lives and feelings of ordinary people.

What was once underground is now coming to the surface.

One thing I'm doing on the new Titanic recording is actually bringing in different acoustic spaces.

As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.