If you've got a stick hitting a drum and you're programming it on a computer, it's so much more interesting than a sample playing back - it's something in the air, that's the magical ingredient.
It's only interesting when you're from somewhere else, like America or Japan. The further away the more interesting it is.
You can't rely on the fact that people know you. At Glastonbury, when they all knew I was DJing, everyone was cheering even though they'd never heard some of the tracks I was playing before.
In Britain, it's good for me to be anonymous, because they just think it's a nobody. "Who is this guy?"
In America, it's quite admirable if someone's done well or been successful at whatever it is. Whereas in Britain, they're not. They only like it when you're the underdog.
I used to love jungle. I still think it's the ultimate genre, really, because the people making it weren't musicians.
it's more interesting for me to stick things out anonymously. You get more of an honest reaction to what you've done.
That's just globalization. It's got good sides as well. But scenes aren't allowed to develop on their own anymore. Everyone knows about everything.
The holy grail for a music fan, I think, is to hear music from another planet, which has not been influenced by us whatsoever.
You change all the time. Everything changes you.
I'm trying to work out more ways to involve my children, because the way I do stuff is so anti-kid, it's really boring. It's not fun. It is to me, but not to them, because they don't even know what I'm doing.
If you hear a C-major chord with an equal temperament, you've heard it a million times before and your brain accepts it. But if you hear a chord that you've never heard before, you're like, "huh."
When you get new rules that work, you're changing the physiology of your brain. And then your brain has to reconfigure itself in order to deal with it.
You're brainwashed in the West with equal temperament, so it's quite hard for people who like following rules to get outside of that and see what you can do. But for me it's easy because I don't work like that. I work intuitively.
I actually prefer it if I don't know what I'm supposed to do. If you've got an equal temperament piano keyboard, then you know what you're going to get if you play certain chords. But I actually like it if you don't know where the notes are, because then you do it intuitively. You're working out a new language, basically. New rules.
A lot of composers before me have been on this mission to change the world by getting off equal temperament, and I'm definitely one of those.
There's something wrong with my brain, it doesn't work properly! I can hear the same pitch in both ears, whereas for most people, if you listen to one pitch in one ear, it's slightly different in the other. That's how your brain works out direction.
It always sounds more right to me when it's detuned. When it's right in tune, it's like there's something slightly off. But at the end of the day, it's all about frequencies and what they do to you. That's the real core.
I wanted to do gigs where you've just got mirrors on the stage, and then you light the crowd so they look at the stage and all they can see is themselves. It's just like, "There you go, it's you, you cunts."
I've got a weird balance problem as a human being, like I'm dizzy, and it's something to do with that.
I'm a quite erratic person: From setups to actually when I'm doing a track, it's just turning and switching and changing all the time.
I've always got to change something. All the tracks I've done in the last five years were made in like six different studios. It gets a bit complicated.
It's not about what equipment you have, it's what you do with it.
If it takes you three years to set up a studio, and you've made one track with that setup, then the logical thing to do is not change anything and just do another one using the same set of sounds.
My filing system's really crap because I can never decide whether to sort things by studio, or year, or where I lived.
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