I came out of an electronic music scene that based all its music on software. It was a real boys thing, a real testosterone thing - software and the relationship between music and the software - to the point where it was like a closely guarded secret.

I think people are complacent about sound, because we're so limited by the textures and timbres we hear in music, but in our everyday life we hear the most incredible things.

As never before does the keeping of our economic machine in tune depend upon wise policies in the administrative side of the government.

I know I have patterns and I've always tried hard to avoid them. There are definitely certain things in my music, if I'm looking back, "Well, that was a period where I was experimenting with a certain kind of chord structure or a certain kind of sound." I've tried really hard, but I'd be hard pressed to tell you what that sound, what that tangible sound of "me" is.

You always come back to Duke Ellington - he's kind of like the thread that holds everything together from the big band descending to lots of jazz, actually.

Often people try and just consider music as music, in a musical context. People seem to forget that music is not just audio material - it's also the artwork, the packaging it comes in.

I always talk about my ambition with music, and it's to sort of seduce people into listening to sounds they wouldn't normally listen to or want to hear.