I love traveling. I love just going about on my own, feeling I have no roots.

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.

I don't know how many records I'm selling.

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

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.

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.

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.