I don't feel bound by the ebbs and flows of musical trends, or what's happening with new music in general. I always had a fascination with that sound. It's a mixture of the idea that something could be going wrong along with the idea of bending constrained, Westernized music out of tune. But because I wasn't copying an idea, and it just came from somewhere inside me, it felt like a birth of something that most people didn't understand at the time.

I don't feel bound by the ebbs and flows of musical trends, or what's happening with new music in general. I always had a fascination with that sound. It's a mixture of the idea that something could be going wrong along with the idea of bending constrained, Westernized music out of tune. But because I wasn't copying an idea, and it just came from somewhere inside me, it felt like a birth of something that most people didn't understand at the time.

The very nature of limiting something from an infinite to moments in time creates distortion; analog recording methods create all kinds of distortion, they're just not digital distortion.

The French were always masters at mid-range. And I like the attitude.

The technical reason why remastering is valuable is because, up to around the late 90s, there was this endpoint called zero, and you couldn't get louder than zero.

We've had incredibly huge obstacles in our way - no tapes, no royalties, no cooperation on any level - and we sort it out.

Most people just give up with time and go, "I'm a victim." The only reason I've got the reputation for delays and spending a long time on things is because I just don't stop.