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 worked on the tracks so they sounded as good as possible in there... I wanted to make something that was for the night.

The lo-fi scene and the riot grrrl thing had a huge influence on me. As a teenager I went to see Bikini Kill and all those bands.

Make a record in your bedroom on a cheap computer, play it on pirate radio, and that's what's it's all about. You can do something really exciting and you don't need any record companies. The way I do everything comes from that, the impact of those two things.

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

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

I thought Everything Ecstatic was the happiest of them all - hence the "ecstatic" name. The whole concept behind that was total out-and-out euphoric mania. I think tracks like "Smile Around The Face" are the jolliest things I've ever done, really. But one of the things I like about my music is the fact that it's instrumental, so there are no lyrics to guide people.