A lot of engineers are like, “You can’t
do this with the music,” and I’m like,
“Have you tried it?”
I think that’s what I brought to the table,
knowing that I have an idea and executing the idea.
Listen to everything that you can.
You’ll have your favorites and some of it
you’ll go, “Oh my God, help me please.
I never want to hear that again ever.”
That’s fine too, but just push.
Push your boundaries.
Push your boundaries, right?
That’s education.
You don’t have to go to a school to be educated.
You just have to be willing to listen to everything
that you can as a musician.
Yeah.
“The mixes aren’t finished.
Björk wants to work with you to finish them.”
And I was like, “Yeah, but I’m not a mix
engineer.”
And he said, “No, you’ll go and work with
Björk on finishing them.”
So that’s what we did.
So I had to learn Pro Tools basically overnight.
It was probably the most challenging experiences
of my...
At that point in my career, the most challenging.
She pushes boundaries, and it’s great.
I’m lucky I worked with a lot of artists
that push me to push my boundaries.
There is no word “boundary” in my dictionary.
Literally, I just have been doing... what
I want to do.
I sometimes wonder what is human nature actually.
And of course, what is my true identity?
I have been seeking these things continuously
since always.
If you get bored with yourself, your career
is over.
We as creative people, we see the world with a third eye.
There's a third eye in which we see things.
There's a different reach of which we go after
things.
There's a different way in how we think about
ideas.
That has a lot of to do with how you utilize
your intuition.
I think it just takes practice, just practice.
The most important word of all time, the most
important word of all time for creative people,
it takes a lot of failure.
Coincidence is definitely one of my most loyal
companions in music.
I am, whether I want to be or not, a conceptual
artist and I work like that.
I can’t go in without an idea or plan, I
don’t just do sessions and record them.
However, the fact is that in the moment, the
concept or plan you have becomes lost and
that is when the magic happens.
There is always a third element, which you
don’t understand or can’t explain.
On the basis that you know what you’re doing,
then something is created.
My way of working with samples has really
helped with this.
It has been inspirational.
And one rule that never dominated the way
that we created music is a rule of notation,
the 12 notes.
A lot of the time, we do pure noise and in
pure noise, if you let three, four, five oscillators
turn, at one point there will be a melody
created .
Just that can be the start of something new.
So you create the infinity up here first.
Damn the grid that’s on the computer, who
gives a sh-t about the grid.
You be in your infinite space up here.
And then create.
Someone playing on their laptop felt like
insane.
I was like, “What?
You can do this now?”
People were doing it just with mouse pad,
and I was like, “OK.
This is legitimate.”
I started to realize this is a legitimate
tool, and I fell really stubbornly into it
at that point, when a lot of people were making
band recreations of their electronic compositions
to, for me, create almost a performative acceptance
with an audience.
I was really interested in resolutely sticking
with the computer as my instrument.
Why not play a keyboard and a mixer in this
weird hybrid, to create a sound field that
has live components and is improvisational,
has risk, and is different each time.
There is another world out there that has
not been explored.
That world isn’t out there, that world is
in here, that we have to find for ourselves.
But it’s not easy.
It’s a hard one to discover what you would
do if you didn’t have a black and white keyboard
It’s like traveling in a new city without
an iPhone.
