I have a massive source of inspiration for my music as I am a lifelong fan of all genres so inevitably these find their way into my work which varies depending what I have been listening to prior to composing and recording. However I owe thanks to the following talents for giving me inspiration (in no particular order...):

Neu!, early Kraftwerk, Cluster, Harmonia (and anything involving the talents of messrs Dinger, Rother, Moebius, Roedelius, Plank et al), La Dusseldorf, Faust, DAF, Der Plan, Tangarine Dream and other German music of that era; Philip Glass, Steve Reich, Terry Riley, Vangelis, Tomita, Karl Jenkins;  jazz and boogie woogie, cajun music, Russian Balalaika and Eastern European gypsy music; selected favourite 'mainstream' stuff (ELO, Deep Purple, Talking Heads, Led Zeppelin, Steely Dan, The Beach Boys, 10cc, Carpenters and many, many others covering the last 40 years!); the heady period of DIY that Punk started (obviously The Sex Pistols, The Ruts, Stiff Little Fingers, Souixsie and the Banshees, Undertones, Ian Dury, The Cure and the many others. . .);  that great period of late 70s and early 80s electronica (including The Normal, Cabaret Voltaire, Human League, OMD, Depeche Mode, Ultravox, Chrome, Fad Gadget, Visage, Suicide, Tuxedomoon etc etc); Contemporary electronic music from artists like Goldfrapp, Komputer and Fujiya & Miyagi, The Knife, Sigur Ros etc; Industrial music by the likes of Coil, Throbbing Gristle, PTV, Front Line Assembly, Front 242, Nurse with Wound, Residents, as well as the early electronic pioneers like The Art Bears, Tomita, Wendy Carlos, BBC Radiophonic Workshop, Silver Apples, Tontos Expanding Headband, White Noise; and not forgetting  Mozart, Beethoven, J S Bach and other classical composers

The above list is just a selection of the music genres I grew up with or discovered along the way - basically I love all music indiscriminatively - my interpretation is to use electronic keyboards, synthesisers, rythum generators and computer equipment as my medium of expression.

The way I compose and record my music shares the same thought processes that I employ in my art - laying down initial tracks of spontaneous material then editing back into it to reveal the potential of the piece ('negative editing'?) followed by more layers of sound, editing. . . and so on. . . letting the piece develop seemingly of it's own accord. . .