Good design for the home should be universal. A house should be like old shoes, comfortable, like a good friend... The Japanese aesthetic is important to me. Very organic. They have a sense of the weight of the thing: very balanced.
I try to create songs that are really massive and intense, but at the same time remaining honest and raw.
The music I love listening to is more of the Jack Johnson, Ben Harper, Dido, Jewel, Nora Jones, Joss Stone, a bit more of that organic live-instrumentation feel.
I'm sticking to the script, I'm putting that organic feeling back in the game.
I think beautiful independent films are made, and I think they're as close to what theater can be because they're not loaded with all of the extra stuff. It's human, and it's more organic, but theater is very unique... It's a different connection altogether.
Digital is great; I see the benefits and beauty in both formats. But it doesn't give you that organic quality that celluloid brings.
I wanted to make something that sounded very pure, organic, and personal. I wanted to make music that was timeless.
If it doesn't feel organic to the audience, you gotta trust your gut.
The best records are not perfect. They don't sound digital or like someone applied rules.
As soon as it's behind computers and machines, which the majority of the planet loves, I find it cold. I need to hear breathing. I like the idea of the mic being a captation of everything that's happening around.
In terms of the organic feel and the love for noises, I definitely feel more connected to Four Tet and Fennesz, as any dance floor artist. I do like some dancey stuff like Martyn when I DJ, but I draw my inspiration from other things.
Grain isn't structured like a screen door that you're looking through, but pixels are. Film-based grain is just all over the place, one frame totally different from the next. So your edges are coolly sharp and have a different feeling, an organic feeling rather than this mechanic feeling you get with digital.
