That particular track, we sort of got down to talking about the relationship between machines and humans, you can hear the guitar player screaming in the background, getting demolished by a synthesiser, there's a lot in there. I half-wrote it. You can hear the real drums kick in half-way through Machines and demolish the track, and you can hear a synthesised voice and a real voice, and all that stuff, it's a little battle going there. The Machines track is this kind of experimental end of this album, which is probably why I like it, and I think, if anything, that encapsulates a direction which we might explore more because you have these two camps in music at the moment, and I think one of the interesting things which is going on in popular music is the sorting out the human element versus the new machine music. You have people in both areas writing good songs - there's no conflict there - but you have this very clear definition between these two groups, and it doesn't need to be that way. I think you need both, to be honest. There are two kinds of things – the business of painting a picture in the studio with a number of tracks, I think is equally interesting.
The solo album I've been working on has a hell of a lot of electronic drums on it. There's also a track on The Works in which we've illustrated that quite well, I think. It's called Machines. Basically, it starts off where everything's electronic – electronic drums, everything. And what you have is the human rock band sort of crashing in. What you wind up with is a battle between the two.
I enjoyed that. I wrote that one with Brian in fact. It's a subject that's been much sort of tried, but I mean it's a sort of obvious thing. Brian wanted to make it a battle between the human side by using the real drums and guitars, etc., and a totally synthetic side, the machines you know. The drum machines and the synthesizers and the Fairlights. So the thing is meant to be a battle between the two, with the idea of basically going back to humans.