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'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.

Gospel isn't some ditty to make people enjoy their afternoon - it's communicating with God.

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

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

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.