When I first heard bands like Tortoise, it seemed to come off the back of that world, like let's make a record with three vibraphones and release it on a seven-inch with black-and-white artwork.

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

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

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

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.

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.

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