I don't know if embarrassed is the right word, about pop, but I prefer the abstract and the distorted in music. And I keep writing these proper melodies and harmonies, and they're the bits that get thrown out of the records! And I have quite a collection.

I kept saying I got sick of listening to people's productions, like people who had no ideas, no songs, nothing to say but could still con people's ears into thinking those songs were there by the application of production. I kind of wanted my record a little more honest than that: "Well, this is us. We put a microphone on it. Here it is."

Making a record's a real fight for me. I'm constantly fighting with this thing inside of me that says I should be sitting in a room with Matthew Shipp or I should have Han Bennink on drums or this song should be playing for the next 20 minutes in my head, not a silly little pop song. It's constant.

I don't know if embarrassed is the right word, about pop, but I prefer the abstract and the distorted in music. And I keep writing these proper melodies and harmonies, and they're the bits that get thrown out of the records! And I have quite a collection.

I think it's essential to make new music now, and to try and make epic records now, and not rely on what happened in the past.

It's a weird situation, doing interviews. Nowhere else in the world can you talk about yourself and have people listen like they're interested over and over. Most people, if they talked about themselves for a half an hour, you'd go, "I'll give them a miss next time." So it's kind of weird.

I'm obsessed with the science of music. I'm obsessed with the way you can string notes together and they can do something, and you play the same notes in another way and they do nothing. How the essence within songs - within words, within lyrics - finds its place.