The more you look into pigs the more you realize quite how everywhere they are. People come in contact with parts of pigs probably between 20 and 50 times a day. And that's before you even eat your dinner. And yet we just have a long string of negative words about them.

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.

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.

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

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.

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.

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.