Thom: "It really is, uh, best heard driving through the night very very fast across open landscapes... dangerously fast, so its not at all peacey and free"

Thom: "We didn't really have, uh, we started recording before we knew what we were doing, deliberately, so that recording became part of writing, like, um, like with a lot of like, when you do programming stuff electronic stuff, you, essentially edit, rather than write. You know, you produce a bunch of things and then uhm you edit it or you mix it depending on how, its basically the same thing, what we were starting to try and explore was the idea of being essentially, you know, a bunch of live musicians but that, are exploring the idea of editting as writing, so you, in a sense you improvise or you're spontatneous, or you go away and you produce a series of ideas, and then maybe someone else constructs something from that and so we're all passing ideas around using the studio to do it with. And that even went for the vocals as well, where I wouldn't necessarily know what I was gonna sing, uhm and I would just do a bunch of stuff and what would work would be obvious, and you know, and so there was, there was very little, uhm, walk into the studio and saying this is the song and this is how it goes. Dadadadada and then everyone is: 'ok, well I'll play that and that'. It was much more like you have a starting point which could be a rhythm or a one rift or something and it evolves into something that's almost unrecognizable."

Thom: "The difference, is that now we don't have a problem with spending a week just doing like sounds, uhm, just generating stupid noises whatever, cause thats like, as important as writing a song, because, uh, it can change the way the song is, it can change what you're trying to say. Like, uhm, on idioteque there is a bit half way through where it goes backwards and breaks into, it like breaks down, and this winding guitar noise *thom hums tune*. And that was actually the most central bit of the song, and that went down, before I wrote any vocals for that song as well, and what that meant was that I found really inspiring and there's no way, that inspired me to write the lyrics or form the lyrics, uhm, and there's no way that would have happened if we'd just been standing there in a room and doing what we normally did. So you see what I mean, so its like, without the atmosphere what you're talking about, thats actually so important to actually maybe what I am singing."

Thom: "You know, I still, I still kinda like that, I like the energy of that and I actually think that I really miss us going into a room and bashing things out, which is something that we obviously had to do to learn to play the songs live. And once we actually had to do it and started doing it, I actually discovered what I enjoyed about it again. But, uhm, I think the trouble with us is that as soon as we come up with any method we usually, you know, we establish a method and than as soon as we've worked out how it works then... we have to move on."

Thom: "Yeah, its quite a weird thing, it uh, it created... until we sorted out, sorted it out amongst ourselves that it was ok... to do that, uhm, it was a bit of a nightmare, because I think, you know, people little did I think or will, whats going on, you know, I'm not involved and it sorta brings out everybody's insecurities, uhm, and really, kinda like that was abdolutely the most destructive thing that you can have in a creative environment, is people being insecure about their input. It makes it basically impossible to work. *sigh*, so when we did sort it out life became a ffffuc-slightly easier *Thom chuckles*"

Thom: "Uhm, it didn't really seem, uhm, like where we're at at the moment, there seemed no point in doing any videos. Uhm, we were much more into the idea of doing commercials. Uhm, you know, thirty second pieces of film because frankly commercials look more like videos, than videos look like, you know... all the, ah, all the good directors were... bought... by large companies, and uh, all the music reappropriate one way or another to sell large banks and movile phones and bullshit lifestyles that nobody needs. And I kind of think we wanted to get away from that, and by the same token it didn't feel right to do singles... cause... i don't think those poor little kids... would have a fucking clue what we were talking about, and they're the only ones who buy singles these days anyway, so, there ain't no point really."

Thom: "Hmmmm, there's a lot of ideas running through that book, though, its not, uhm, I think the most interesting idea, is the idea that corporate invasion of public and private space, I think is very interesting, because I think, that's basically, uhm, thats basically how I feel about things generally, I'm one of these people that sits and shouts at the TV, uhm, even though, you know, I choose to have it on. But, I choose to feel that I'm being invaded a lot of the time by it, and I think that the music business works in quite a similar way, where somone has a good idea, and then that idea is invaded and reappropriated and sold on, stolen, ripped off blatantly... until it ceases to have any significance. Uhm, like what they did with Nirvana basically, and it amazes me that the record company are such a bunch of saps, that they don't realise it. You know, after 50 years, they're still doing the same thing, uhm, and its really about invading someone's personal space, you know, in one way or another and now I think that its got to a level that like no one even notices it anymore, and that, I think thats really terrifying, you know, I really have a problem with it. Uhm, you know like, like music TV channels, you know, are basically there to sell the ads inbetween, you know, thats how they make their money, you know, I'm sure you'll cut to this at some point some horrendous... uh... lifestyle, fucking shot of two people dancing with their mobile phones being inspired and they're playing some goofy tune, or whatever. And like, that somehow, has somehow become acceptable now, its alright, you know, I guess its always there but I think, I just can't, it just sort of like seems to have got to the point now where its invading like this, you know, its not out there somewhere now, its everywhere, its , uh, and there doesnt seem to be a way of vocalizing how one feels about it, which I think is kind of why Norman Klein's book is good."

Thom: "I think, that the future of rock is in those dodgy compilations you get advertised on music channels, where they go 'Ariel speed wagon and Queen', thats the future of rock. Uhm, I think that its basically not enough to just simply like, live out some extremely annoying extraneous myth... about... how rock and roll you are or whatever, and I think its rather fuckin dull to go on tour for however many years, its not really where its kind of at, I think basically, I think basically that everybody should now in the year 2000, have the right to choose to go into any form of music that they like, because essentially the technology is so DIY now that it doesnt really demand like massive amounts of skill or whatever you want to call it. Which is like essentially what used to cool about, you know, thats what was cool about punk, you know, the lack of skill needed to still essentially create a great noise or whatever. And I think that because of all the technology and building studios has gotten cheap and its easy to do that, uhm, it should free people up to like not be able to do whatever they want, you know, be able to play guitar or use a drum machine or you know, be a DJ, whatever. I just sorta think that, uhm, the only people really still worrying about the future of rock are a bunch of smelly old journalists."

Thom: "Uh, the exact reason... would be that... we didn't like guitar music anymore, and that we weren't listening to it, and it didn't exciting us anymore. And, it wasn't what was going up there, and its gotta go on up there, and then otherwise its boring, and all you're doing is, uhm, fullfilling your, uhm, your niche in the market or whatever, so, that's why its like that."