'When I was a child I had recurring dreams that were primarily textural, my fingertips touching various surfaces. The dreams weren't particularly pleasant, but not nightmares either. The structure of the dream consisted solely of variation in texture, and within that synaesthetic nature of dreams the experience seemed simultaneously aural. Those dreams abandoned me at age 12 or so, but a lot of my music is an attempt to recapture those textures, to plot those surfaces in sound.
Everything moves very slowly, and I try to avoid any sense of beat or meter. The structure is usually a harmonic skeleton of speech, or occasionally an organic or geometric system. This forms a trellis for the music, which is kind of wrapped around it and allowed to grow.
All the sonic material is sampled, there are no synthesisers as such. I find that sampled sources result in a more organic, fuzzy surface.'