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.

Times of my life, brief periods without music, have completely felt dangerously over the edge.

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.

Your responsibility as an artist is to experiment.

My father had a phase of having jukeboxes all over the house. He was a music lover but he was also into musical machinery. Not instruments, he was never interested in playing particularly but there would be these odd objects, like valve amplifiers being dismantled on the kitchen table. My mum wasn't massively keen on that, but it was part of the environment.

Stereotyping and generating brands around musicians I think contributes to their eventual demise.

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.