“[It’s] almost like a very slow improvisation… I like to think of the music as writing itself. I’ll have ideas of fragments, chords, sketches, but I’ll listen to the music and what it wants to do, and follow that instinct, rather than trying to impose a pre-defined structure.”
“If you’re gonna ask what my central ethos for everything I do is, it’s that: build a community, build a scene, get people involved and break down that barrier. You "can" do it.”
"The ‘hysterical sublime’ … As soon as I read that, I knew [it] summed up exactly the world I wanted to create. This collapsing of the sublime and the ridiculous to the point where they’re indistinguishable."
“Breath feels like such an important part of that process of performing, how you’re feeling when you’re performing, the sound that you make. The way you breathe informs how gradual, or direct, or stable or unstable, that sound is.”
"The music collected on this album is more than just a document of something that happened: it’s a celebration of the vitality and variety of musical performance today."
“I work a lot with humour: keeping everything quite silly, and simple. When working with text, I enjoy finding language that doesn’t quite make sense. I enjoy the humour that comes out of finding something that’s just a bit off in both language and music.”
“When I write, I feel really manic — I feel a lot of adrenaline coursing through my veins. Even though what I make comes out very slowly, I feel like I’m going at a million miles an hour.”
“I’m not so much interested in 'changing the sound', per se. What I’m really interested in is creating sound worlds, and sound paintings. I find that electronically, that is probably the easiest way of achieving that; you can create an orchestra of those reed sounds, just in whatever software you use.”
"If there wasn’t a regional folk tradition for me to tie my musical identity to, then fine — I was going to invent my own."
“It’s not like making a piece of work in a space where the space is just a container for the performance. The two worlds are completely linked — physically, conceptually, and in every other way. So sometimes I’m thinking like an architect and sometimes like a composer, and of course all the bits in between.”
“I’m not setting text, I’m not trying to manipulate it or dilute its impact; I’m trying to present it, as I feel like it deserves to be presented, and using that as a stimulus for my own creativity.”
“I make things to say 'this is how I see the world', and to ask if you see it the same way.”
“I’m not saying that music is the notes of the piano, and philosophy is just the words. There is philosophy in the notes of the piano, and there is music in the words.”
“I just try and write something that is, in any shape or form, going to be enjoyable.”
“After confronting my anxieties about myself, I came to the conclusion that my music ‘is’ me; my perspective will always be part of my music, whether I try to or not.”
“My musical inspiration always comes from the essential principle of Eastern philosophy, that is: everything is flowing, interconnected, dependent on each other.”
“I really like to explore different sonorities — different sounds that can be used with electronics and acoustic instruments — trying to get some form of middle ground between the two.”
"I see [visuals] as very integrated into the piece, and the process. I feel like some people make visuals that you don’t need to have with pieces, but mine are very integrated — one doesn’t work without the other."
“It was completely about 'let’s play how we feel', that’s what it was all about — communicating with each other, expressing our emotions to an audience — beyond that, it didn’t really matter what it sounded like.”
“I’m just trying to make the most sonically sensuous, magic sound-stuff-thing that I can.”