Quotes of All Topics . Occasions . Authors
What do I call my music? Beats with melodies.
As a teenager, you don't really have restraint.
I just love the hypnosis of a single bass drum.
Meditation is a regular part of my day, every day.
Making music has always had a therapeutic effect on me.
Nothing competes with the buzz of making your own record.
I'm not keen on interfering with nature; I don't want to edit my genome.
I'm very impulsive and I always had a belief in instinct leading the way.
I don't want to make an album which is full of brutal and jarring techno.
I'm never really conscious of what I'm being influenced by when I'm writing.
I like to have an album arc that comes from an experience rather than a story.
I prefer a long day of starting in the morning over working late into the night.
I love starting a track in one place and not knowing where it's going to end up.
To try and create a transcendent state through music has always been the intention.
I remember having a 7-inch Depeche Mode single when I was ten and really loving that.
I just love switching stuff off and going for a run, or sitting down and eating cake.
When you sit there doing a film score for three months there's no time to experiment.
I learned over the years to trust that the subconscious is going to provide guidance.
Music has always been so integral to my life. It's always been my work and my passion.
It's really important for me to have a record which has a strong narrative feel to it.
You can't allow your creative sessions to be dominated by miniscule editing processes.
It sounds a bit pretentious, but I'm never really conscious of what I'm doing musically.
Learning how to be calm and centered in any situation is a skill for life, whatever you do.
I'm actually a big fan of turning off my phone and ignoring it for large chunks of the day.
No, I'm a quite big believer in not being in the studio if I don't feel like being in there.
Whenever I've improved, gone up a level in sound-making, it's been because I've done an album.
I love truly forward-thinking music, and I'm not even sure I'd describe my work as that, even.
A lot of my creative ideas begin in the pub, talking through possibilities with collaborators.
Writing music - particularly music without lyrics - calls almost exclusively on the subconscious.
It is funny how we talk about nature as this separate entity when we are nature, and nature is us.
I think I took eight or nine months to make 'Immunity.' I just focused on mainly that, and it felt amazing.
I have the inability to stop thinking and switch off from work at night, which causes a lot of sleeplessness.
A night out isn't just chaos and hedonism. It can be beautiful as well and there's a sadness to the end of it.
Your music essentially reflects everything you do, everything you've been through, in the deepest part of you.
I love exploring the hypnotic elements of music, and because of that there are very long tracks on 'Immunity.'
I do believe there's a human right to experiment with your consciousness, as long as you're harming no one else.
The process of repeating a rhythm while it gently evolves has an incredible effect on the brain, or on mine anyway.
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've always been obsessed with contrast in records, and using harsher elements to make the quieter ones more powerful.
I would never advocate anyone doing anything without educating themselves and finding out exactly what they're in for.
Sometimes I hear records that are being recorded at the absolute highest quality, and I just don't like the sound of it.
It's great to do something that makes your brain just switch to a different mode, and music can do that really powerfully.
I love that tension between machine sounds and organic sounds, and also the contrast between abrasive sounds and soft sounds.
There's never been a time when there hasn't been ritualistic dancing, and I think clubbing is our modern incarnation of that.
I don't believe in getting a lot of new gear all the time, so I get very deeply into one instrument and use it for many years.
I always make sure there's something for the audience to connect to, in terms of my movements relating to the sounds being heard.
I think there's a spiritual element to dancing in general. There's a reason why in every culture, dancing seems to be in our DNA.
I went to a hypnotherapist and learned how to hypnotize myself and explored orthogenic training, how to relax each part of your body.
You can only make the best thing you can make, and if it offends purists, or angers certain critics, you can only have done your best.
Ironically, my tastes aren't that experimental, and I wouldn't describe my music on the surface as being overtly experimental, either.