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When you hear a large symphony orchestra. for instance, in a concert hall, there's a big, sweeping sound that just doesn't get on to a record.

When you come into my pieces, it's not an intellectual experience, it's a physical experience. It's coming at your body. There's light, there's sound, the lights in some pieces are going on and off. There's loud roaring sound happening.

I feel like the first record was really finding my feet, figuring out what music I wanted to make... Now that I've done that, I feel like I've got a much clearer idea of what I want to sound like and what I want to discover. It's exciting.

It's those moments, those odd moments that you look for and sometimes by creating this kind of loose atmosphere you find those little moments that somehow mean a lot to an audience when they really register right.

If you capture the first thought that you have when you're creating, and then play that to people, it's kind of like the listeners are part of that beginning. And that's the most exciting part.

Something happens when you feel that energy and excitement from the audience. And you do, I don't know, four pirouettes. You jump higher than you ever have. And it's just this really magical thing that happens in those moments.

My live performance, it just comes from feeling an energy and emotion from the crowd.

You lose your energy, you lose that excitement and it gets the audience up.

When you see or hear something beautiful, it's like that thing is transmitting a kind of energy, and if that energy helped create the work, the only thing I can do is play it when I finally show the work.

I find it hard to get excited by just a sound. I have to have a song there, then I'll find what used I can make of that sound within the song.