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.

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.

My father is a massive, massive music fan. I grew up listening to rock, soul and jazz.

People ask me about all sorts of sounds. There's a sound of a screeching toy or a rubber duck and everybody asks me about that, but it was an absolutely random thing, just a cool sound.

I find the more I DJ, the more ideas I have and the more music I want to make.

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

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.