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.

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.

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.

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

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.

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

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.