The important thing was whenever I listened to a piece of music was that it could make me feel something really strong. I have a very emotional connection to music and I always did find it to be a very powerful influence on my feelings – now all you need is a computer to make it.
If the computer didn’t exist then I wouldn’t have been able to learn or make music the way I taught myself to. All you need is a feeling about what you like and what you don’t like and enough time to try things out, it’s just trial and error. That’s literally made my process – just try this chord, try the next chord, try this bit, this next note, is that better or worse – it’s just this hill climbing process. It’s a slow step by step walk from a chaotic melody or a chord progression to the thing which I think that connects with me emotionally. It’s just an intuitive emotional process.
I was writing music with Tom Hodge a couple of weeks ago – he’s a pianist and classically trained – and he’s a real musician. He can sit down and just play a masterpiece. He’s obviously put in years and years of hard work to get to that position, but it’s totally different from the way I work.
Something I noticed working with him was that we would listen through some music we recorded, and he would say “that one sounds alright, let’s just use that” and he would know something sounded OK and use it straight away and then move on to the next thing. I was thinking “what are you doing? You can’t just do that”- the way I work would be to listen to every single bit of every single part of each track, listen to all options and then get the ten best ones and then start A/Bing them and exploring all the options before I moved on to the next step, whereas he would be very much more just relying on his intuition.