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.

I just love the hypnosis of a single bass drum.

I'm more akin to things like Sigur Ros, Mogwai, possibly. But when I'm making solo electronic music, techno stuff is just the most exciting form of rhythm.

I don't really want to go into the world of production and I don't really want to produce other people particularly.

Sometimes you can just record anything and slow it down hugely and you'll find all these hidden notes and frequencies that match up really nicely.

The track 'Open Eye Signal,' when you hear that choir sound come in, that's actually me singing but sped up and with huge reverb and overlayered harmonies.

It's really important for me to have a record which has a strong narrative feel to it.

Music is an expression, a deep-seated feeling.

I was guided into piano lessons and 'guided' is a nice way of saying 'forced.' I don't regret it, but I think music theory as a concept doesn't work.

That's the thing with electronic music, you set up systems to bring in an accident, to bring in quirks you didn't choose, but you still will have had to set up systems.

I don't want to make an album which is full of brutal and jarring techno.

Transcendental meditation in particular is very useful in terms of unlocking those deeper parts of the subconscious where ideas are floating.

When I did 'Immunity,' even though I did a film score at the beginning and also at the end, I was left uninterrupted during the middle bit. I got a good year of just writing and focusing. That, to me, is when I make the best stuff.

Writing music - particularly music without lyrics - calls almost exclusively on the subconscious.

I do believe there's a human right to experiment with your consciousness, as long as you're harming no one else.

As a teenager, you don't really have restraint.

I would never advocate anyone doing anything without educating themselves and finding out exactly what they're in for.

When you sit there doing a film score for three months there's no time to experiment.

Nothing competes with the buzz of making your own record.

Whenever I've improved, gone up a level in sound-making, it's been because I've done an album.

For me, the score is one of the main characters of a film.

I'm a massive catastrophist by nature.

What do I call my music? Beats with melodies.

I remember having a 7-inch Depeche Mode single when I was ten and really loving that.