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.

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.

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.

I take the literary or textual aspect really seriously and I really enjoy writing weird album titles. I did a PhD; I enjoy writing.

I definitely road test music. I'll drive in the car and look up at the sky and that often makes it more clear, like what's good and what's not. Driving in darkness is amazing, because you really feel the energy and what has presence, spirit to it, and what doesn't.

I definitely enjoy liturgical work and choral work from the 15th century and 16th century, but I play in churches with a bit of trepidation, and it's not something I enjoy because there are all these problems. It's an implication that you're part of the theological apparatus, like for atheists or something, and I don't like that. I like playing with the form, inhabiting the tropes of religious music without that promise of angels at the end. It can be awkward, you know?

Vinyl's just a fun endgame step. I work with analogue signal chains too, but the mp3 is the way I listen to music.