People tend to play in their comfort zone, so the best things are achieved in a state of surprise, actually.
Set up a situation that presents you with something slightly beyond your reach.
I think most artists would be happy to have bigger audiences rather than smaller ones. It doesn’t mean that they are going to change their work in order necessarily to get it, but they’re happy if they do get it.
One of the things you’re doing when you make art, apart from entertaining yourself and other people, is trying to see what ways of working feel good, what feels right.
If you’ve spent a long time developing a skill and techniques, and now some 14-year-old upstart can get exactly the same result, you might feel a bit miffed I suppose, but that has happened forever.
My kind of composing is more like the work of a gardener. The gardener takes his seeds and scatters them, knowing what he is planting but not quite what will grow where and when – and he won’t necessarily be able to reproduce it again afterwards either.
Every band I’ve worked with also wants to be countercultural in the sense that they want to feel that they’ve gone somewhere that nobody else has been.
I’ve had quite a lot of luck with dreams. I’ve often awoken in the night with a phrase or even a whole song in my head.
I would like to see a future where artists think that they have a right to contemplate things like global warming.
For the world to be interesting, you have to be manipulating it all the time.