You're able to perform really complex mathematics and therefore re-generate a different curve that might be impossible to do using analog techniques.

I speak to other people at Astralwerks and it's like, as soon as the Chemical Brothers album shows up everything stops for six months.

Working in the digital domain, you're using approximations of things; the actual sound wave never enters the equation. You deal with sections of it, and you're able to do so much more by just reducing the information to a finite amount.

We're quite into graphics that are simultaneously two- and three-dimensional. But I can't really elaborate any further because it's not something - we haven't really perfected it.

We're more into sort of fluid structures that are simultaneously the most efficient, the most beautiful, and the most engineered. You know what I mean? We like the balance you can get in there.

We don't really talk about music that much, to be honest with you. It's not some I usually - I can't really talk about other people's tracks never mind my own.

The music industry over there seems to treat America like it's one territory even though they got offices in different parts of America - they're still quite sort of 'America is the territory.'

Our live set's become increasingly complex recently; we've been doing stuff that's been vastly too much information for most people to deal with and I think it's quite interesting watching how people behave in those situations, under those circumstances.

It's kind of like trying to make straight lines from curves, but involving shapes that sort of dictate what the curves are, if you like, and the difference between two separate pieces creates a third transitional piece if you like.

It's incredible, but I think a lot of people it shot over their heads 'cause they're used to just getting images and messing around with them, and for us to do something quite so 'designed' was a bit of a shock.