It's such a normal thing for a dance producer to make music and try it out in the club, but that was relatively new to me. I wanted to make a good album that felt like it had a point.

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

When drum'n'bass happened, when the two-step/garage thing happened, there was a chart smash every week; it operated on the underground and the pinnacle of pop mainstream at the same time.

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.

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.

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.