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 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.

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

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

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 find that people in American are often much more purist. If you're into hip-hop, you're totally into hip-hop - you wear the uniform, that's all you listen to. If you're a goth, you're totally a goth - you've got, like, 4,000 piercings, black hair, you really go for it.