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 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.

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 don't listen to a huge amount of music generally. Partly because you've sat in a studio for 10 hours and then when you come home you just want to read a book, and listen to the sound of your central heating system.

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.

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?

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