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

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 realized there were no words or anything in my music, nothing that people would have to draw them in a little bit more.

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.

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.

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