DJ Spooky was meant to be a kind of ironic take on that. It was always meant to be kind of a criticism and critique of how downtown culture would separate genres and styles because it was ambiguous.

So the physicality of that and the just the sheer lack of urban noise and machinery - just the wind, the water and your breath, you know that kind of thing - it was pure poetry and you know I treasure that.

One of the main things that differentiates them [artists of 70s] from artists before is that they made albums based on the fact that they didn't care about the band as a thing in its own right. They cared about manipulating the recording and that became the album.

The name [Spooky] comes from well back in university I was doing a series of essays and writing about Sigmund Freud's idea of the uncanny and I was really intrigued by this idea of "The Unheimlich".

When you're coming up with different ways of getting old memories to transform - you're scratching, you're doing all this kind of sampling - what ends up happening is that you're becoming a kind of writer with sound.

Freud is usually viewed as the person who linked psychoanalysis to some issues in the environment, usually man-made. So I thought it would be fun to throw that in the mix.

DJ culture is all about collage - sampling, splicing, dicing - everything is part of the mix, and there are no boundaries between sound sources. When you apply the same logic to the environment, there's a lot of room for mapping sampling techniques to the environment itself.