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

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

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

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.

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'll alight upon words because I think they suggest any number of things.