From what I understand, Cluster and Eno rented a whole house next to a river for two or three weeks or so, set everything up and just pressed record and improvised. I’m pretty sure the whole thing was inspired by the river, or a river that just keeps flowing. And when we tried to ritual From its original idea as a short piece for Dreamachine to what it is today, the concept that Dan 7Rays kept coming back to was the idea of ​​flow and things constantly moving.

This song embodies that. There are these hypnotic riffs coming. I don’t know what part Eno is playing, I don’t know what part the people from Cluster are playing, but it doesn’t matter. There’s some piano in there, there’s a great bass line too, but you feel like it has no beginning and no end – it just keeps going. It sounds a little corny, but it’s about how life is about the journey, not the destination: you just keep going. It’s also just a classic: it’s such a beautiful piece. Like with “Isa Lei,” it’s that feeling of friends playing together – that intention of being like, “We’re renting a place, taking the time, and that’s all we’re going to do for a couple of weeks!” I mean, how nice would it be to do that? I’ve only been to a couple of residencies in my life, but they felt like I can imagine, but they were never quite that focused. I think a lot of magical things happen in situations like (Cluster and Eno). I think some of the Talk Talk sessions were similar, along the lines of, we’ll just play and play and play until we get something magical.

I feel like that probably happens less often these days because our attention is constantly under attack. It’s up to us to get the phones out of the room, turn off the wifi and really, really get going – really get deep into the music. We’re listening to music from a time before that and I think you can hear that concentration and that ‘presence’. I have a studio downstairs and when I’m deep into writing I turn off the wifi but I like to only do that for three or four hours. There was a record I made ten years ago called Sleeping versionswhere I components of immunityI drove to Reykjavík and from there into the city and to the studio where Sigur Rós recorded the ( ) album. When I was there, I didn’t use the internet and I went into depth with all their interesting keyboard instruments. There was another residency in Eau Claire, Wisconsin – separate from the festival I talked about earlier – where I was essentially just in a room and other musicians came in and did a little bit of recording.

The studio here (at home) feels very timeless. When you close the door, you feel like there’s nothing else there and you need that. We can’t give in to these machines! They’re going to win; they’re too cleverly designed. But I think people are starting to realise that and that’s great.