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.

Actually, time and time again people always come back to my early, more innocent stuff, and say, "I kind of prefer that." I could go back to writing that and probably make more people happy, but it just doesn't feel like the right thing to do. I don't want to take the lazy route.

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.

Chaos is hateful. That indeterminate nature of war brings a really unsettling atmosphere to life.

I think I have a particular logic of my own that has to do with sound and sampling sound, and there isn't a great deal of music out there in that field. Whereas, harmonically and melodically, there's loads.