I’m not that interested in what people make of it, or how people consider me. That’s nothing to do with me.

My plan is if you come to the shows in the first run of dates the versions you'll hear live are quite close to the record. But because I can set this up identically afterwards in a hotel room I can actually work when I'm on the move. The aim is that all the pieces will have had substantial remixes and different parts added and subtracted.

I like my stuff 'cause I only ever end up with tracks that I really, really like. It always appeals to me.

If it's a language you don't understand and you're not concerned with the meanings of the words, your impression comes from how the words look, particularly if the language uses different characters.

Just the type of music that was around at the same time as I was writing. Some of it was wicked, definitely. But there was just one direction which I thought could be pushed that no one was pushing.

I'd say that it's important for music to be there that gives you a challenge, that rearranges things in your head.

People have often assumed that for music to be emotionally powerful it has to come directly from a human hand, whereas I disagree with that, and enjoy proving these people wrong. This project is an excellent way of exploring that area more.