I think recording at home feels more organic, and injects some more personality into the music.
The first time I saw 'Minecraft,' people wanted to have 8-bit style video game music. But I wanted to go around that and make something organic and partly electronic, partly acoustic, and see if that would be interesting.
The way I make music is just a reflection of how I think music should be made. Where you sit in a studio, and you make music, and you use technology to your advantage, not to hide all the blaring mistakes.
There's a Slow Food movement. I think I'm part of the Slow Music movement.
Music's supposed to come from the heart. I felt like that if it ever got mechanical, I was going to back away from it.
There's just something really, really timeless about live instruments. There's just something special about them that you can't really duplicate or grasp without including live instruments.
At a time when club music has gone more electronic, I've gone the other way: organic and world music.
Oh, everything we did was completely organic - from the way we looked to the way we sounded, the way we played - everything.
With 'Bangarang,' I didn't make any announcement, no campaign. I just put it on my Facebook and some other places. That's how I've done everything with my previous records. I've always kept it organic.
At the end of the day, you really want to make sure that organic music, made by human beings, at least has a voice.
They just said, 'Roll the tape.' No rehearsal or nothing... Muddy [Waters] didn't come in and say 'I wanna rehearse.' He used to look at me and say 'Let's just play the blues. That's all you need to do.
I wasn't into jazz so much - I preferred things raw.
I've tried to become a singer with the guitar and not let any technological licks run my life. Just write the licks and play them as best as I can as a part rather than ad libbing.
The music I love listening to is more of the Jack Johnson, Ben Harper, Dido, Jewel, Nora Jones, Joss Stone, a bit more of that organic live-instrumentation feel.
Technology has made it much easier to make and manipulate music. Studio-driven, machine-driven music does not always transcend into being a good live act. Many current acts are great live, but many cannot cut it live. The music is not organic.
I like things that don't sound particularly processed or mechanical or made by machines. I like music that contains human elements, with all their flaws. There's air in it, and you can hear a room of a bunch of guys playing. Those are the magic parts.
What's so wonderful about the street is it's organic music. No preservatives. There's no other reason to be out there except you just love music and want to play.
In this day and age, when you can use a machine or computer to simulate or emulate what people can do together, it still can't replace the magic of four people in a room playing.
It's meant to reaffirm the validity of that music - clean, minimalist, honest, classic music.
The way I think about things or hear things in my head is actually much closer to acoustic instruments. I don't have weird synthesized fantasy of music in my head.
The 'Aldous Harding' record isn't easily placed because it wasn't trying to sound like anything. It was quite organic.
I pride myself on having a really authentic music sound: no gimmicks, just my vocals.
Though I always experimented with electronic music in the past, I wasn't invested in that sound. My heart has always been in folk. That's my home.
I'm letting the songs breathe and change and become what they are without force.
It's good to play 100 per cent live - no tricks, no samples, no messing about.
