"I chose it mostly for its beauty. I like the heart-wrenching minor chords. I'm a bit of a sucker for that, and again I find there is such a soothing quality to this record. It is on the melancholic side of things; it's not a sunshine album. But it is the kind of album where if you're not feeling too great you put it on and think oh well, there are people feeling much worse than I am! So cheer up! It has that kind of effect. I'm particularly in love with the string arrangements. I don't know who did them; I don't read the liner notes, but they really work for me. Beck worked with Thurston Moore on Demolished Thoughts, and again there is the same kind of string arrangement that comes in and out of songs. It holds much emotional power. In the earlier parts of the 90s we played some concerts with Sonic Youth, Beck and us, and festivals as well. He was a really good person to come across. I haven't crossed paths with Beck for many years now, but he is someone I would really like to work with, just on the strength of that production and those strings. I think we share musical terrain and I'd really love to work with him."

"Varese is a universe. A dense universe of objects colliding, crystallising, dissipating and obliterating. I feel like I can relate to what I know of his temperament as well. As well as his obsession with the desert and need to rid himself of the historical baggage of the past is something I can relate to. That guy for me is the origin of a lot of ideas that I'm excited about. It's hard to even talk about him. You know when you've sat with someone for so long that it's difficult to even begin to say. He was one of the first major composers who transitioned into more of a sound artist. As people have said, he kind of liberated sound from the familiar tropes of Western music and turned sound into this absolute state. An appreciation of sound as object. Sound as environment or experience. So, he's that guy. He's someone who, as I grew up, getting into composition and trying to find someone who I can relate to because I love the music but the culture of classical music is stuffy and boring. And I don't give a shit about it. But he was such an intense, probably manic depressive, obsessive-compulsive, beautiful, frustrated, angry, passionate person – and all this stuff came through his music. And I love him for that. He came out of the whole Romantic orchestral universe, and this was pre-electronic age. So he was surrounded by Stravinsky, Debussy, these major models as far as orchestral writing goes. But there wasn't anyone who was taking that model, freezing it and laying to waste the baggage of history that comes with along with that music. He was able to erase all of that and push the idea of orchestral writing forward. If he was alive today, that's a question I would ask him – where are you coming from? Like Feldman though, he's very intuitive in his writing, so he just trusted himself."