Your responsibility as an artist is to experiment.
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 make music to generate atmospheres, not to complement already existing ones.
I'd say that it's important for music to be there that gives you a challenge, that rearranges things in your head.
I’ve started thinking about pure electronic music again. Something very melodic, very aggressive.
The older ideas are rendering more and more bland music.
There's a really rough and relatively consistent hierarchy of concerns. My musical interests come first and principally my fascination with how notes and rhythms interlock. Then comes the technical side like programming, instruments and designing instruments. Next is production and mixing and beyond that I start to care less.
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.
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've never really been that much of a fan of Ninja Tune.
I'm trying to fly the flag for the days of electronic music where people who are making it are also building the gear because that was what was happening in the very early days of electronic music. And that spirit is one of the things that really appeals to me about electronic music so I'm putting this forward as a way to keep that.
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.
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.
My father had a phase of having jukeboxes all over the house. He was a music lover but he was also into musical machinery. Not instruments, he was never interested in playing particularly but there would be these odd objects, like valve amplifiers being dismantled on the kitchen table. My mum wasn't massively keen on that, but it was part of the environment.
I'm starting to play all the melodies with kind of keyboard sound but playing it from the bass guitar.
My history is really playing live - not writing or recording.
I couldn't find a group that wanted to do what I wanted to do. No one was really up for it.
I think the best way is to forget about racing people and just find territory that's fresh.
I was starting to feel really suffocated, using the sequencer.
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.
My plan is if you come to the shows in the first run of dates the versions you'll hear live are quite close to the record. But because I can set this up identically afterwards in a hotel room I can actually work when I'm on the move. The aim is that all the pieces will have had substantial remixes and different parts added and subtracted.
One of the more dispiriting things I think about endless touring is hearing the same piece of music over and over again and I end up feeling like a fraud.
I'll alight upon words because I think they suggest any number of things.
Stereotyping and generating brands around musicians I think contributes to their eventual demise.
It's important for that to exist in a society that doesn't present you with any genuine problems.
