I'm trying to fly the flag for the days of electronic music where people who are making it are also building the gear because that was what was happening in the very early days of electronic music. And that spirit is one of the things that really appeals to me about electronic music so I'm putting this forward as a way to keep that.

I'd say that it's important for music to be there that gives you a challenge, that rearranges things in your head.

I’ve started thinking about pure electronic music again. Something very melodic, very aggressive.

But I always communicate with the audience. I never pretend like I'm just in my bedroom making a track. The whole point of doing a gig is, like, a feedback thing between you and the audience.

Just the type of music that was around at the same time as I was writing. Some of it was wicked, definitely. But there was just one direction which I thought could be pushed that no one was pushing.

My plan is if you come to the shows in the first run of dates the versions you'll hear live are quite close to the record. But because I can set this up identically afterwards in a hotel room I can actually work when I'm on the move. The aim is that all the pieces will have had substantial remixes and different parts added and subtracted.

Stereotyping and generating brands around musicians I think contributes to their eventual demise.