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.

But I always communicate with the audience. I never pretend like I'm just in my bedroom making a track. The whole point of doing a gig is, like, a feedback thing between you and the audience.

One of the more dispiriting things I think about endless touring is hearing the same piece of music over and over again and I end up feeling like a fraud.

Because, when I'm making music, I don't think about anything, you know? All I think about is what I want to hear. So that for me is what I want - I want my head to be constantly being rearranged.

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'm basically a musician.

One of the more distant concerns is with the visual interpretation of the music. I find it fascinating but I don't always particularly get involved with it.