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.

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

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

I feel like there's a young generation of producers who are taking inspiration from dubstep but trying to push it in other directions.

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

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.

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.