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

There's a lot of music that sounds like it's literally computer-generated, totally divorced from a guy sitting down at an instrument.

Out of doing all that experimentation with sound I decided I wanted to do it with live musicians. To take repetition, take music fragments and make it live. Musicians would be able to play it and create this kind of abstract fabric of 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'd been making music that was intended to be like painting, in the sense that it's environmental, without the customary narrative and episodic quality that music normally has. I called this 'ambient music.' But at the same time I was trying to make visual art become more like music, in that it changed the way that music changes.

When I first started out, I was making really slow, psychedelic ambient music because it was all I could do.

I'm a synthesist. I'm always making music. And I make a lot of different kinds of music all the time. Some of it gets finished and some of it doesn't.

Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music - not like a record that you'd put on, which would play for a while and finish.

We incorporate various electronic devices - the echo plugs and things like that. Actually, all we're trying to do is make that sound musical. As opposed to just making sounds, we do musical things with them.

When we started there was this element of these experiments we were doing where we weren't really sure how the music would play out because the music was all on different players.