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.
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 realized there were no words or anything in my music, nothing that people would have to draw them in a little bit more.
Gospel isn't some ditty to make people enjoy their afternoon - it's communicating with God.
The lo-fi scene and the riot grrrl thing had a huge influence on me. As a teenager I went to see Bikini Kill and all those bands.
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.
After putting out quite a few albums, there's a feeling of why make another? I was trying to make something that was an album experience.
I've done quite a few records now, and I look back and think of them as documents of my musical journey.
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 find the more I DJ, the more ideas I have and the more music I want to make.
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 think the most important thing for me is putting out records that document ideas.
So many people I was at school with have all ended up being musicians and putting records out.
If I bare my soul in bits and make it personal, I think people can sense that when they hear it.
With a lot of the music I really love, like Miles Davis, you can go back and see the processes and the stages.