In modern studios, we're so used to becoming little dictators; you're used to the fascism of having complete control over every element.

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.

As I get older, everything feels like it's fundamentally connected, and once you've accepted the idea that business is right, and the free market - though there's never really been one - is right, then everything else just follows naturally from there.

Other than rhythm, the only thing I could say is that I take a great deal of pride in every single sound I use. I'm always making sure that I'm not using a pre-set or something that everyone else has done.

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've heard the sound of 70 condoms being scraped over the floor at the British Museum. It feels like being an adventurer. Why would you stay in your living room if you could go out and experience things no one's ever experienced?

I think rhythm is, when you talk about rhythmic sensibility, quite perceptive in that I like to have at least one thing that is at least common or familiar to the audience.