I often work by avoidance.
I felt extremely uncomfortable as the focal point, in the spotlight. I really like the behind the scenes role, because all my freedom is there.
I'm very good with technology, I always have been, and with machines in general. They seem not threatening like other people find them, but a source of fun and amusement.
The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.
Most game music is based on loops effectively.
Lyrics are always misleading because they make people think that that's what the music is about.
Perhaps when music has been shouting for so long, a quieter voice seems attractive.
Democracy is a daring concept - a hope that we'll be best governed if all of us participate in the act of government. It is meant to be a conversation, a place where the intelligence and local knowledge of the electorate sums together to arrive at actions that reflect the participation of the largest possible number of people.
I'm fascinated by musicians who don't completely understand their territory; that's when you do your best work.
Every collaboration helps you grow. With Bowie, it's different every time. I know how to create settings, unusual aural environments. That inspires him. He's very quick.
In the 1960s when the recording studio suddenly really took off as a tool, it was the kids from art school who knew how to use it, not the kids from music school. Music students were all stuck in the notion of music as performance, ephemeral. Whereas for art students, music as painting? They knew how to do that.
You either believe that people respond to authority, or that they respond to kindness and inclusion. I'm obviously in the latter camp. I think that people respond better to reward than punishment.
I wouldn't call myself a synaesthete in the sense that Nabokov was. But I'll talk about a sound as being cold blue or dark brown. For descriptive purposes, yes, I often see colors when I'm listening to music and think, 'Oh, there's not enough sort of yellowy stuff in here, or not enough white.'
Musicians are there in front of you, and the spectators sense their tension, which is not the case when you're listening to a record. Your attention is more relaxed. The emotional aspect is more important in live music.
People tend to play in their comfort zone, so the best things are achieved in a state of surprise, actually.
Instruments sound interesting, not because of their sound, but because of the relationship a player has with them. Instrumentalists build a rapport with their instruments, which is what you like and respond to.
Feelings are more dangerous than ideas, because they aren't susceptible to rational evaluation. They grow quietly, spreading underground, and erupt suddenly, all over the place.
My kind of composing is more like the work of a gardener. The gardener takes his seeds and scatters them, knowing what he is planting but not quite what will grow where and when - and he won't necessarily be able to reproduce it again afterwards either.
Pop music can absorb so many peculiar talents, ranging from the completely nonmusical poseur who just uses music as a kind of springboard for a sense of style, to people who just love putting all that complicated stuff together, brick by brick, on their computers, to people like me who like playing conceptual games and being surprised.
Although cover notes for classical music albums tend to say that the trill of flutes suggests mountain streams and so on, I don't think anybody listens to music with the expectation that they're going to be presented with a sort of landscape painting.