I find that people in American are often much more purist. If you're into hip-hop, you're totally into hip-hop - you wear the uniform, that's all you listen to. If you're a goth, you're totally a goth - you've got, like, 4,000 piercings, black hair, you really go for it.

I think the most important thing for me is putting out records that document ideas.

I've always explored things that people find a bit more freakish, like free jazz, and I'd gotten to a point where the live music I was making was really hectic and turning much more confrontational. So when I started working on Everything Ecstatic, that was very normal for me. I think it was a departure, but people read it as an escape from something, whereas every record I do is, I feel, a departure.

When drum'n'bass happened, when the two-step/garage thing happened, there was a chart smash every week; it operated on the underground and the pinnacle of pop mainstream at the same time.

It's such a normal thing for a dance producer to make music and try it out in the club, but that was relatively new to me. I wanted to make a good album that felt like it had a point.

I've done quite a few records now, and I look back and think of them as documents of my musical journey.

I feel like there's a young generation of producers who are taking inspiration from dubstep but trying to push it in other directions.