Theres quite a heavy jazz element on the record. Where did that come from?
Practically speaking, that came from the fact that I’ve been doing lots of work with all sorts of different bands around London. The jazz scene is quite big in London, there are lots of sort of musoey people around and I wanted to work with some of them. There’s one band I work with in particular, Pushmepullyou, who are a funk band and are basically a pool of brilliant musicians. And I just love working with them. I really like their style. And it also comes in from my love of Seventies stuff, like Stevie Wonder and Marvin Gaye. Again, it’s to please me. Also, I think if you listen to old abstract jazz, it is pretty much dub. It’s the same sort of emotion. Maybe not classic Jamaican dub but there’s certainly a link. Where do you stand on facelessness in dance music? I think in some ways it’s a bad idea. I can understand why, if all your music is coming from machines and sequencers, there’s an understandable desire to step back from the limelight or whatever, I suppose because in a way
