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Well, I like the idea of seeing every piece of music as fluid. I see the tracks as places almost, structures you can inhabit and explore.
Overall, 'Singularity' has a certain lightness to it compared to 'Immunity.' It's less closed off; it doesn't have that claustrophobic sound.
Transcendental meditation in particular is very useful in terms of unlocking those deeper parts of the subconscious where ideas are floating.
Meditation gives you back one or two sleep cycles every time you do it. Do it every day and it goes quite a long way towards helping insomnia.
Sometimes you can just record anything and slow it down hugely and you'll find all these hidden notes and frequencies that match up really nicely.
Ever since I got a job in Imogen Heap's touring band when I was 17, there have been moments in my career that I can't quite believe really happened.
I don't have a huge amount of gear, but on the software side, I have a number of plug-in chains that act as abstracted versions of real instruments.
I was guided into piano lessons and 'guided' is a nice way of saying 'forced.' I don't regret it, but I think music theory as a concept doesn't work.
I was drawn to music from a super early age. At school, my ego co-opted it to some degree and I would use it to gain some sort of social credibility.
I'm not interested in making an album that's just dark and pummelling for an hour, nor am I interested in making a beatless record from start to finish.
Well, I don't really use MIDI that much. But I do record audio around me a lot, and just layer it up and see what effect it has, without any aforethought.
As soon as I finish meditating, I get a beautiful feeling of expanded consciousness. When I'm in this headspace I can make so much progress in my writing.
I'm more akin to things like Sigur Ros, Mogwai, possibly. But when I'm making solo electronic music, techno stuff is just the most exciting form of rhythm.
The track 'Open Eye Signal,' when you hear that choir sound come in, that's actually me singing but sped up and with huge reverb and overlayered harmonies.
If you're a traveling artist, you probably experience insomnia at some point. You need things to be the right temperature, the right light... it's essential.
I did classical music when I was a teenager, but the experience of performing a classical concert felt too frighteningly pristine for me to continue with it.
I'm not someone who can just be paid to play keyboards on songs. I tried to do it - I needed the money, but it made me really unhappy and ill to be doing it.
I have an obsession with making an album rather than a collection of tracks. For me it's like making a film - it's the perfect length of time to tell a story.
I always liked the idea of shaving the back of my head and getting a tattoo of my own face there so that, whichever way I was looking, I could freak people out.
That's the thing with electronic music, you set up systems to bring in an accident, to bring in quirks you didn't choose, but you still will have had to set up systems.
I was always fascinated particularly with synths: how they looked and stuff that when you're a kid you're like this is the most incredible thing in the world just to play.
I got this pretend grass stuff called LazyLawn on my roof. Now I can go out on my terrace in bare feet, and it looks exactly like a lawn. This is what science should be for.
I have always been interested in incorporating real places into the music I make. Bringing the outside into the controlled world of recorded sound just gives life and physicality.
I really don't use that much stuff. I think it's good to know a few pieces of equipment very well, rather than learn new ones every time. I think it distracts from the writing process.
When you've got hardly any equipment, very little money and no access to any information, your sound is very much dictated by you, your setup and what you're listening to. Nothing more.
Singularity' goes through a process of purification and signification. If you listen to it, you can hear quite a chaotic and disruptive beginning and by the end, you're in such an opposite zone.
Some machine-y music is great, but you can apply any groove to any song now - there's literally a massive drop-down menu on most programs. And that's what takes the human being out of the process.
I've learnt over the years to always be thinking of titles and ideas that I try to put across with just a couple of words. It's the difficult part when you're writing things that are basically abstract.
Sometimes I think elements of 'Open Eye Signal' are better live. I do this really crazy stuff at the end, but I don't know if it'd translate well into recording. It would probably sound a bit too extreme.
It's extraordinary to hear from people who are bereaved, or gone through a divorce, and they still take the time to tell me how a certain track or album helped them through tough times, or kept them sane.
My first ever show in America was opening for Coldplay at Madison Square Garden. Nobody in that audience could have known who I was. It was almost like it was an accident, like I was in someone else's dream.
When I was 23, I felt like I was further back than when I was 21. After two solo albums for this small indie label Just Music, they'd gotten no real profile. So I kind of turned away from the solo thing a bit.
The first thing I remember hearing was just the dance music that was in the charts when I was growing up. I don't remember many of the names of specific tracks - they were just kind of early acid house things.
I'm a bit snobbish about breakfast: eggs benedict, or eggs royale, or something like that. Or just some really amazing, proper brown toast with smoked salmon, lemon, and black pepper. That's a great start to the day.
Maybe I'm just stubborn about learning new things - I can't stand learning new programs - but any sound I can imagine, I can make with SoundForge. And I'm using the old version, like 4.5 from 1999. I use it for every sound.
You don't make this kind of music expecting to have to do TV press and stuff like that. I don't mind doing it, but it's a fairly underground type of music. You do it for the love of the music more than being a star or anything.
When I did 'Immunity,' even though I did a film score at the beginning and also at the end, I was left uninterrupted during the middle bit. I got a good year of just writing and focusing. That, to me, is when I make the best stuff.
My own personality is fairly optimistic and generally very happy, but like everyone else I've been through difficult stuff, particularly in my teenage years, where I experienced enough melancholia to feed any number of electronic records.
What kind of music keeps its relevance? That's why I purposely try and avoid any particularly current trends in electronic music. I do actively stay away from the most popular rhythms of the moment. In six weeks' time, those will sound out-of-date.
If I've made something really serene... well, if everything is like that, it's like having too much icing on your cake. You need something else under it, some kind of grounding. It's like if you're making a film, you can't have only happy moments, or else they become meaningless.