“The album ended up being something not directly related to Asimov, but related instead to the concept of the power of robotics.”

The Sicilian Defence was our attempt at quickly fulfilling our contractual obligation after I Robot, Pyramid and Eve had been delivered.

Folk rock was my real roots. I did a few gigs as a folk artist, in the style of Fairport Convention.

Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!

That Beatle euphoria has always been there, and it’s hard to be in a room with a Beatle and try to be totally natural. You never shake that off.

Audiophiles don’t use their equipment to listen to your music.

I’m delighted about the track’s success in the sports world, but the frustrating thing is,

In France, you can sell a lot, but nobody outside of France ever hears of it.

Audiophiles use your music to listen to their equipment.

I was 17 and just learning what high fidelity was, what good sound was, and learning the mechanics of tape machines.

In Russia we had to have special visas in our passports, and when we had to show our passports at the Kremlin gates.

I don’t think I got rich on it. The labels and publishers did very cheap deals on our songs.

There is a certain grandeur.

We realized that, Oh my God, we’re actually playing in THE Kremlin!.

That was the first introduction for me to recorded music and hi-fi.

I started in a research lab for TV cameras, then I worked at a tape duplication facility.

If I have anything to do with it. I have not heard it since it was finished. I hope the tapes no longer exist.

When I’m picking songs for an album I always want a song that I can relate to and that I have experienced. There’s nothing worse than watching an artist try and sell a song that isn’t believable coming from them.

I hate albums that are really happy. When I am really happy, I don’t like to hear happy albums, and when I am really sad I don’t wanna hear happy albums… and I tend to gravitate towards the lonely and isolated anyway when I write.

My album focuses on unrequited love quite a lot because I don’t think it’s spoken about enough in music. I’ve been through it myself and I found it hard to find songs that were about that, so I’ve definitely tried to make that a part of my album.

It takes a lot of people years to turn a negative into a positive. It takes me, like, an album.

What I’m hoping is that every album I’m going to do will give my audience something different, and that they’ll grow as I do.

It’s very hard to be an artist, on my first album, and I’m like asking for money for a music video for every song – it’s so hard to do. You have to pick your battles for sure, but I definitely want – and I’ve always worked to make it all connect – for all of it to feel cohesive.

When I first started writing the album, “Cry Baby” was a song that I really wanted to write because it represented all of these personal insecurities that I had for a long time.

People don’t make albums any more. It’s always about singles. I wanted to take that old-school approach.