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"Our live set's become increasingly complex recently; we've been doing stuff that's been vastly too much information for most people to deal with and I think it's quite interesting watching how people behave in those situations, under those circumstances."
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"Working in the digital domain, you're using approximations of things; the actual sound wave never enters the equation. You deal with sections of it, and you're able to do so much more by just reducing the information to a finite amount."


"I don't particularly care how many records we sell any more because we've kind of bought all the equipment we want to buy."


"It's claustrophobic, and I think it is to do with the amount that we're exposing people to one particular point."


"A mate of mine said recently said a lot of stuff sounds like you're listening to it outside, but also like you're surrounded by it, and I think that's quite similar."


"It's kind of like trying to make straight lines from curves, but involving shapes that sort of dictate what the curves are, if you like, and the difference between two separate pieces creates a third transitional piece if you like."


"It just comes down to taste at the end of the day, and that's something you can't really analyze. Yeah, I think to have it all there is basically best, regardless of whether there's hiss there as well."


"We don't really talk about music that much, to be honest with you. It's not some I usually - I can't really talk about other people's tracks never mind my own."


"So we should preserve it. I don't think that digital storage is necessarily a good thing, but I definitely think that digital manipulation is interesting."


"I don't know whether I'm, like, jumping the gun but it's possible that in the future we may be able to use the information that we can't receive at the moment."
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