It's Actually Very Easy For Democracy To

Try To Make Things That Can Become Better In Other People’s Minds Than They Were In Yours.

Frequently, I Go Straight Into The Studio And See What's Around. I Might Hire A Couple Of Instruments That I've Never Used - Maybe A Particular Type Of Electronic Organ Or An Echo Unit. Then I Just Dabble With Sounds Until Something Starts To Happen That Suggests A Texture. The Texture Suggests Some Kind Of Mood, And The Mood Suggests Some Kind Of Lyric. That's Like Working In Reverse, Often Quite The Other Way Around, From Sound To Song. Although Often They Stop Before They Get To The Song Stage.

Stop Thinking About Art Works As Objects, And Start Thinking About Them As Triggers For Experiences.

The Micro-compositions Are The Pieces Themselves, But The Macro-composition Is The Whole Set Of Them And How It Moves From Track To Track And How The Titles Relate To One Another, For Example. Always When I Do Records Like This Of A Selection Of Instrumental Pieces - The Titles, To Me, Are Very Important.

One Of The Interesting Things About Having Little Musical Knowledge Is That You Generate Surprising Results Sometimes; You Move To Places You Wouldn't If You Knew Better.