No, I'm a quite big believer in not being in the studio if I don't feel like being in there.

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'm not someone who can just be paid to play keyboards on songs. I tried to do it - I needed the money, but it made me really unhappy and ill to be doing it.

I'm never really conscious of what I'm being influenced by when I'm writing.

I always liked the idea of shaving the back of my head and getting a tattoo of my own face there so that, whichever way I was looking, I could freak people out.

I was always fascinated particularly with synths: how they looked and stuff that when you're a kid you're like this is the most incredible thing in the world just to play.

I went to a hypnotherapist and learned how to hypnotize myself and explored orthogenic training, how to relax each part of your body.

Meditation gives you back one or two sleep cycles every time you do it. Do it every day and it goes quite a long way towards helping insomnia.

If I've made something really serene... well, if everything is like that, it's like having too much icing on your cake. You need something else under it, some kind of grounding. It's like if you're making a film, you can't have only happy moments, or else they become meaningless.

My own personality is fairly optimistic and generally very happy, but like everyone else I've been through difficult stuff, particularly in my teenage years, where I experienced enough melancholia to feed any number of electronic records.

I like to have an album arc that comes from an experience rather than a story.

I think I took eight or nine months to make 'Immunity.' I just focused on mainly that, and it felt amazing.

The process of repeating a rhythm while it gently evolves has an incredible effect on the brain, or on mine anyway.

To try and create a transcendent state through music has always been the intention.

I prefer a long day of starting in the morning over working late into the night.

Well, I like the idea of seeing every piece of music as fluid. I see the tracks as places almost, structures you can inhabit and explore.

I'm not keen on interfering with nature; I don't want to edit my genome.

I've learnt over the years to always be thinking of titles and ideas that I try to put across with just a couple of words. It's the difficult part when you're writing things that are basically abstract.

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.

You don't make this kind of music expecting to have to do TV press and stuff like that. I don't mind doing it, but it's a fairly underground type of music. You do it for the love of the music more than being a star or anything.

When you've got hardly any equipment, very little money and no access to any information, your sound is very much dictated by you, your setup and what you're listening to. Nothing more.

It's great to do something that makes your brain just switch to a different mode, and music can do that really powerfully.

The first thing I remember hearing was just the dance music that was in the charts when I was growing up. I don't remember many of the names of specific tracks - they were just kind of early acid house things.

I'm an example of someone who got a bit more focused as I got older.