People still talk about sampling as this new, progressive problem in music. There are technologies now where you can glean the polyphonic information out of a sample and then put that back in and then score it for five instruments. You don't need digital audio to sample; you can rewrite things.

Sometimes it's a fraught, kind of laden world of performance that I think can be really dubious, but it's also super fun to almost desecrate an instrument that for 500 years has been associated with God.

I wouldn't say I'm ego-less, but I'd say there's something uncomfortable about the presentation of one's self in the media. Any image sent out is permanently in the spin cycle. And there's a paralysis of that, the way your image is presented. I've always been hesitant, but I'm definitely not shy or anything.

I'm not a peak oil person. I'm not a biohazard apocalyptic kind of freak. I don't have a supply of weapons or gold bars under my house.

For me it's the hypnotic simplistic reduction of hooks into some form of prayer wheel or something. I really appreciate people who can work in those quiet environments making really precious latticework like lace in a weaving but, for me, I like it a bit more hairy and like psychedelic Peruvian knits or something! You know what I mean? I go into fabric analogies, you know.

Because I refuse to perform my music in a traditional sense of instrumentation, I don't have an amazing live stage spectacle to provide, and I don't want to go there. I don't see how the music would stay true to the spirit of the work.

People still talk about sampling as this new, progressive problem in music. There are technologies now where you can glean the polyphonic information out of a sample and then put that back in and then score it for five instruments. You don't need digital audio to sample; you can rewrite things.