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

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

What happens in the studio is technically the same thing that happens on the stage. In the past I had to make quite brutal adaptations of the material to make it work on stage. I don't always like doing that because sometimes you're shaving away the things that you actually quite like about them, the spontaneity of it.

I didn't want to try and borrow kudos from Indonesian culture. I was trying to get a fresh perspective on these instruments. I'm not doing a Paul Simon Gracelands and stealing all this African music and not give anyone any credit.

I want to change peoples' minds about music, I want to bring the really brutal experimental stuff to peoples' attention.

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 was starting to feel really suffocated, using the sequencer.