If I’m interested in what I’m doing, other people will be interested in it.
I am a ham. I’ve no business being rock ‘n’ roll. I’ve said it over and over again that I’m a classical composer, dishevelling my personality by dabbling in rock ‘n’ roll.
In cities like New York and Austin, there’s much more of a social context for music than in other places.
We gave up on the idea of trying to make the record a good representation of the live performance.
It would be a stronger world, a stronger, loving world, to die in.
I like it here in New York. I like the idea of having to keep eyes in the back of your head all the time.
I learn from thinking about the future, what hasn’t been done yet. That’s kind of my constant obsession.
What I enjoy most about being on stage is that the natural instruments give you a greater freedom with texture. When you use natural instruments they have their own resonance.
When somebody grabs a movement, you’re kind of locked into it. It’s all par for the course.
That’s what my life is, writing songs.
People sort of know me for that solo piano music I did.
I like what the future holds. I don’t like thinking about the past.
I’m writing a movie about Mozart going to New York in the ’60s. I’ve been reading so many novels.
I’m impatient. I get twitchy. When I get that feeling I just go out and make something happen.
I want to get lean and mean, keep it minimalist.
Growing up in Wales was a pretty Draconian experience with religion.
The value of having a computer, to me, is that it’ll remember everything you do. It’s a databank.
In the studio you have pretty much carte blanche with whatever you’re doing. You can turn natural instruments into electronic instruments.
I’m content with making records, but I don’t want to be doing the same thing all the time.
I never use the word, it’s loaded. What love means to me is need.