The Gorillaz cartoons seem more real to me than the actual people on TV. Because at least you know that there's some intelligence behind the cartoons, and there's a lot of work that's gone into it, so it can't all be just a lie.

When you're doing a deal with someone in the southern Sahara, it's a very different way of doing business than in London. You can't sign them in the usual way because they'd end up getting ripped off, which would defeat the object of setting up a label like this.

I'm not really one of those people who believes that if you're a musician you can just leave that behind and start getting into politics.

And there are no stars and that you're never really sure who's doing what and what voice is what and, you know what I mean? It's supposed to be quite elusive.

And there are no stars and that you’re never really sure who’s doing what and what voice is what and, you know what I mean? It’s supposed to be quite elusive.

When you’re doing a deal with someone in the southern Sahara, it’s a very different way of doing business than in London. You can’t sign them in the usual way because they’d end up getting ripped off, which would defeat the object of setting up a label like this.

In Africa, as resources inevitably disappear, people have to make do with a lot less. You have to be much more ingenious with a lot less, and accept that you can’t get your perfect tuna sandwich on a street corner.

The cartoon is a metaphor really for the fact that it’s almost impossible in our celebrity obsessed culture to move around genres and sort of change you ideas, change your face, you know?

I’m not really one of those people who believes that if you’re a musician you can just leave that behind and start getting into politics.

Trying to write music that’s sensitive to 400 years ago takes a bit of madness, as it’s such a long stretch of time.