Our strong suit is what we do, and our audience.

Stuff that's hidden and murky and ambiguous is scary because you don't know what it does.

In the last 100 years since the invention of sound reproduction, music has really taken off and it is much more a common language because of records and transportation.

The point is there is more information now then you can pass along comfortably in an oral tradition, say a strictly speaking culture. That is a problem.

So it's one of those things where we have to - our problem is pacing ourselves and still reaching a large enough number of our audience. Because we don't want to burn the audience. And we don't want to be excluding anybody.

You have to be ready, and also you have to discard notions that are fondly held by a lot of musicians, about sequences and notes and about scales and musical systems as a whole. If you think of music as a language, the space part is where you throw out all the syntax.

As a musician you fall into certain patterns that you're not conscious of, unless you start listening to yourself on tape a lot. If you do that you start recognizing habits; then you have to try and break them.