We went through this business of me writing out all the parts for these old songs from Gravity and Speechless and we'd been performing that, but we don't do that any more.
I think things changed as a result of a certain perception of our politics. When we went through our zealous, self-righteous period it didn't exactly win us any friends.
It's like learning a language; you can't speak a language fluently until you find out who you are in that language, and that has as much to do with your body as it does with vocabulary and grammar.
I don't know if I'm striving for anything that I can put into words.
There are always things to examine. What's great is not feeling that I have to refuse any of them. Maybe no good from a PR perspective, but from the point of view of everyday life, it keeps things interesting.
Chris Cutler was kind enough to offer his company as an umbrella, so now I can have all my back catalogue under one roof as it were, and it has the same feeling as with Daniel; this is a matter between friends rather than businessmen.
I write with a mouse, because it has no psychological associations or memories or habits associated with it.
As an improviser I'm now pretty comfortable with trios, so I'm thinking of working up to quartets.
If you write songs you have an idea how they're going to sound.
Improvised music involves a lot of intuition and I like developing intuition.
Not necessarily in one concert, but they're all there to be used if you want to use them.
I remember playing football dressed in peculiar costumes with some friends in France and laughing so hard we couldn't even stand up, let alone kick the ball.
Some things don't wind up sounding like you'd expect, which is just as well.
There's an awful lot of resources that can be drawn upon in an improvised music concert.
Well, I think music for kids is never anything but experimental is it?
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