Gorillaz, I think, was the result of initially me kind of thinking that a band like Massive
Attack were very lucky they seemed to have sort of extraordinary freedom to experiment
with anything, you know, that whole way of making music that process excited me.
I like that bit when I can hear just a little bit of magic in whatever it is, you know, that's
the food, really, that you're searching for all the time.
Something I've started doing recently is filming something while writing a song.
So it just continues a one-shot of something and then the song emerges while you're meditating
on a single frame, so it can be moving, it can be static, and that's, and then you can,
you know, when you go back to, I mean, very rarely just something just you press, you
press record and you start playing, does it come out perfect, sometimes, but I like the
idea that you can edit using the information that has visually taken place while the process
of writing was taking place.
If you would say the way music is recorded, yes, it's completely and utterly different
because essentially it started out of being you were recording the moment.
That was what the tape gave you the ability to do and you would edit, but the essential
moment was, you know, and then with the idea of loops, everything changed and the technology
grew around the concept of loops and what emerged was what we have now.
So you can have the moment, but the moment is also in harmony with the more digital
frame.
It is the same thing, it's interesting because digitally enhanced music can in a way have
the same effect as sort of music created in the moment, but there is a subtle difference
when I've entirely decided what it is, but I like playing with both, you know, and this
modern technology allows that to be possible really in a very small confined space.
I think that's the thing, music can be made here, you know, as opposed to, yeah.
