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With NOAH, you can create some stunning, yet original soundscapes. Therefore, as a performance tool, it really comes into its own because you can make one single performance which has a lot of detail.

I want to do more audio originals because I think that it is a fascinating medium. If you think about it, this is original storytelling.

A chance to work with the guys from Isis sounded like a lot of fun. I've always been into the atmospheric sounds they had created with that project and felt my sense of melody would meld well with theirs.

I always liked the story of Noah's Ark and the idea of starting anew by rescuing the things you like and leaving the rest behind.

I wanted to make sounds that I'd never heard before.

In the beginning, I was so inspired by the music. I had the option to make something modern with classic undertones, but I wanted to make something that was exactly like that old sound.

When I hear something new, mostly in rhythms, I often find it interesting to recreate it in a studio in a completely different way.

I come from a background of experimental music which mingled real sounds together with musical sounds.

The late sixties and early seventies were kind of a breeding ground for exciting new sounds because easy listening and folk were kind of taking over the airwaves. I think it was a natural next step to take that blissful, easy-going sound and strangle the life out of it.

As I got more involved in music, one of the things that made me excited, from the time I was a child, was that clear link between our ancestors and the sounds we hear today.