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.

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

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.

If I bare my soul in bits and make it personal, I think people can sense that when they hear it.

People read into the music. I have a feeling that they can believe that I'm trying to put some emotion forward. It's not just some technical exercise.

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

So many people I was at school with have all ended up being musicians and putting records out.