Most of those melodies are me trying to find out what notes fit, and then hitting ones that don't fit in a very interesting way.

I've got a feeling that music might not be the most interesting place to be in the world of things.

The lyrics are constructed as empirically as the music. I don't set out to say anything very important.

I highlight everything I find interesting, and then type out everything I've highlighted, and then print out everything I've typed, and reread these printed notes as often as possible.

I like the idea of a kind of eternal music, but I didn't want it to be eternally repetitive, either. I wanted it to be eternally changing. So I developed two ideas in that way. 'Discreet Music' was like that, and 'Music for Airports.' What you hear on the recordings is a little part of one of those processes working itself out.

If you're in a forest, the quality of the echo is very strange because echoes back off so many surfaces of all those trees that you get this strange, itchy ricochet effect.