We live with incessant music, all the time. It's like some weird musical purgatory, there is absolutely no rest for the ears, no space to absorb and reflect.
Dubstep has everything for me. Rhythm, sound design, heartfelt emotion - all in one place.
The commercialization of dubstep isn't something I'm part of.
I've been asked a lot about the state of dubstep in America, and everyone wants me to say something controversial, but I have no negative feelings toward anything, really.
My mum especially listens to music in a way that is incredibly feelings-based. There's virtually no snobbery about what sounds are in it, she just wants to hear a song and that is quite refreshing.
It really surprises me that people in this day and age still write such busy music and fill up every space with layer upon layer of sound... it's like musical landfill.
At some stage in the process, most mainstream pop records are being manipulated and possibly completely rebuilt on a computer, with a visual program.
I think Japanese audiences are much more attentive than a London audience.
I never really approach collaborations as kind of normal things where they're arranged and they happen because you've arranged them. I've always been like this, I just have friends I hang out with, and while we're hanging out, if music happens then it happens.
If all the elements are in place, you should get 80 percent of what a song has to offer no matter how you hear it, whether on headphones or on the radio.
I wanted to make sounds that I'd never heard before.
I've been really trying to hone the art of songwriting in a way that doesn't follow any sort of guideline.
The level on which Japan seems to have picked up on my music seems to be on a more abstract level.
I think when you're learning an instrument, you are restricted because much of it is the noise of individual theory and your ability to play the instrument.
I think the music that you make, often it's even better if you identify with other people.
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