One Often Makes Music To Supplement One's

There Are Certain Sounds That I've Found Work Well In Nearly Any Context. Their Function Is Not So Much Musical As Spatial: They Define The Edges Of The Territory Of The Music.

When I Was Young, An Eccentric Uncle Decided To Teach Me How To Lie. Not, He Explained, Because He Wanted Me To Lie, But Because He Thought I Should Know How It's Done So I Would Recognise When I Was Being Lied To.

We Have Two Different Ways Of Working. One Is Completely Unstructured Where Somebody Just Starts Playing And Somebody Joins In And Then The Other Person Joins In, And Something Starts To Happen. That's Occasionally What Happens. What More Often Happens Is That We Settle On Some Sort Of - A Few Sort Of Structural Ideas, Like, "okay, When I Put My Finger Up, We're All Going To Move To The Extremes Of Our Instruments. So, That Means You Can Only Play Either Very High Or Very Low Or Both. And We're Going To Stay There Until I Take My Finger Down.

You Feel As If You're Not Living A Full Life. Which, Of Course, Is Why - It's My Theory About Why So Many People Who Are Heavily Into Computers Are Also Into Extreme Sports And S&m. It's Because Their Bodies Are Crying Out For Some Kind Of Action.

Think Inside The Work - Outside The Work