It's not about what equipment you have, it's what you do with it.
You change all the time. Everything changes you.
Forget all the equipment, forget the music, at the end of the day it's just literally frequencies and their effects on your brain. That's what's everyone's essentially after.
The best artists are people who don't consider themselves artists, and the people who do are usually the most pretentious and annoying. They've got their priorities wrong. They're just doing it to be artists rather than because they want to do it.
The holy grail for a music fan is to hear music from another planet, which has not been influenced by us whatsoever. Or, even better, from lots of different planets. The closest we got to that was before the Internet, when people didn't know of each other's existence. Now, that doesn't really happen.
I'm just some irritating, lying, ginger kid from Cornwall who should have been locked up in some youth detention centre. I just managed to escape and blag it into music.
I wanted to do gigs where you've just got mirrors on the stage, and then you light the crowd so they look at the stage and all they can see is themselves. It's just like, "There you go, it's you, you cunts."
Can't really despise people you don't know.
I've got a weird balance problem as a human being, like I'm dizzy, and it's something to do with that.
It sounds really arrogant, but my music's my favourite music ever. I prefer it to anyone else's.
I actually prefer it if I don't know what I'm supposed to do. If you've got an equal temperament piano keyboard, then you know what you're going to get if you play certain chords. But I actually like it if you don't know where the notes are, because then you do it intuitively. You're working out a new language, basically. New rules.
The best musicians or sound-artists are people who never considered themselves to be artists or musicians.
When you get new rules that work, you're changing the physiology of your brain. And then your brain has to reconfigure itself in order to deal with it.
You're brainwashed in the West with equal temperament, so it's quite hard for people who like following rules to get outside of that and see what you can do. But for me it's easy because I don't work like that. I work intuitively.
I'd like to have a dog with me.
If you're making things at home, there is no structure - no end, no beginning. So releasing stuff is a really nice way to have dividers in between what you do, and giving yourself a kick up the ass and saying, "OK, that's the end of that period."
There's a lot of melancholy in my tracks.
It's really funny, because if you make up words, then people project their own meanings onto it, which I find interesting.
It always sounds more right to me when it's detuned. When it's right in tune, it's like there's something slightly off. But at the end of the day, it's all about frequencies and what they do to you. That's the real core.
A lot of composers before me have been on this mission to change the world by getting off equal temperament, and I'm definitely one of those.
Sometimes I just hit the keyboard in a way I'd like the rhythm of the tracks to sound.
it's more interesting for me to stick things out anonymously. You get more of an honest reaction to what you've done.
When I look at commercial studios, I think, "Oh, they're all so nice and tidy," but it's because they don't actually write music in them.
There's something wrong with my brain, it doesn't work properly! I can hear the same pitch in both ears, whereas for most people, if you listen to one pitch in one ear, it's slightly different in the other. That's how your brain works out direction.
If you hear a C-major chord with an equal temperament, you've heard it a million times before and your brain accepts it. But if you hear a chord that you've never heard before, you're like, "huh."
