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.

With a lot of the music I really love, like Miles Davis, you can go back and see the processes and the stages.

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.

Gospel isn't some ditty to make people enjoy their afternoon - it's communicating with God.

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

I realized there were no words or anything in my music, nothing that people would have to draw them in a little bit more.