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.
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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.
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When I started making my own records, I had this idea of drowning out the singer and putting the rest in the foreground. It was the background that interested me.
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Once music ceases to be ephemeral - always disappearing - and becomes instead material... it leaves the condition of traditional music and enters the condition of painting. It becomes a painting, existing as material in space, not immaterial in time.
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I want to make something that is breathtaking. Of course, you can't make something that is always breathtaking, or you would never be able to breathe. You would collapse.
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Every collaboration helps you grow. With Bowie, it's different every time. I know how to create settings, unusual aural environments. That inspires him. He's very quick.
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Singing aloud leaves you with a sense of levity and contentedness.
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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.
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I think I've committed the one really bad English crime, which is I've risen above my station. I was supposed to be a pop star, and suddenly I'm claiming that I'm an artist of some kind.
