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.

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.

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.

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.

The only way to find that territory is trying to keep your mind constantly open. That's the only way that you're ever going to see the sort of signs of where to go.

I couldn't find a group that wanted to do what I wanted to do. No one was really up for it.

One of those things that I find hard to dispose of is my attitude to album sequencing, the layout of the pieces.