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.
There's never been a time when there hasn't been ritualistic dancing, and I think clubbing is our modern incarnation of that.
I love that tension between machine sounds and organic sounds, and also the contrast between abrasive sounds and soft sounds.
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.
I've tried to do every album in a different style, which is why I tend to leave a fair bit of time between each one.
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.
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.
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.
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.
A lot of my creative ideas begin in the pub, talking through possibilities with collaborators.
Learning how to be calm and centered in any situation is a skill for life, whatever you do.
I've always been obsessed with contrast in records, and using harsher elements to make the quieter ones more powerful.
To try and create a transcendent state through music has always been the intention.
I like to have an album arc that comes from an experience rather than a story.
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.
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.
It's great to do something that makes your brain just switch to a different mode, and music can do that really powerfully.
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.
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 love starting a track in one place and not knowing where it's going to end up.
