It was alright – I was ill actually, quite badly beforehand. I was sick and stuff so I did the whole gig with a sick bag in my pocket. Prepared to run off at any point! Ideally, I would have preferred somewhere a bit more intimate, or somewhere where the crowd knew a bit more about what was going on, 'cos obviously they wanted something a bit more… pumpy pumpy.

Yeah – we try and sample as much of Dani's voice as possible in real-time, and play bits of that in, and then I'm doing little bits of the Radioboy show as well – which is much more explicit sampling of percussion and stuff.

Erm, I've slowed down a little bit because I'm doing film work, but I still DJ at least once a week, pretty much, and have done for five or six years now, which is a bit of a weird thing to find yourself ending up doing. I go to other countries regularly; I go to Spain and France a lot. France is getting really good actually – their attitude to music is changing quite a lot, and they throw some really interesting parties in really great venues, like nice old houses and stuff. There's government money to put on little festivals… I played in a house where Picasso used to paint, which was cool.

I think it's a really important thing for me to do, at this point. Firstly to give some exposure to some amazing music which pretty much gets lost… I mean, it's known in the underground – stuff like Traktor, but beyond that it's not really heard of. Also, it's a reaction. It's important at this point I think as a reaction to the way that techno has become very linear, and house has become really repetitive. DJ compilations tend to be all on one level, or one style, so it's important for me to show the other side of the coin. Also, I never record for other labels, so it's quite a big step for me.

When Dan Bell did a mix CD for them a few of my tracks were licensed, so we entered into discussions after that. Dan's a friend of mine so it was nice for it to be a friendly thing – it's been a really fun project to do. They let us have free reign over the artwork as well, which I thought was very admirable in this day and age.

Yeah, I was actually. It was one of the first times that I've heard my music mixed in a way that I was happy with.

Yeah, it's the mediocrity of music in general I think. Bad music always inspires me – you hear an amazing orchestral piece by Marlow and it doesn't inspire you to spend years training to become a classical composer, yet you hear something like a Michael Nyman orchestral piece and it inspires you to go out there and do something a damn sight better.

There's a couple that I can't talk about for contractual reasons until they're made official, but it's pretty good stuff. There's a film that I'm doing in New York, which is quite a big one… Then there's one in France which is kind of a house musical, and I've done a couple of others as well – English ones. One's got Caprice in it, it's really funny – three boys nick a video camera and decide that they wanna make some money so they try and make a film and kidnap Caprice. It's good. It's nice for me to be doing something else.

I think if you're independent or striving to be independent, and you're self-employed, then you have to work pretty much continuously. Not necessarily seven days a week, but you have to do enough, firstly so that you keep your creative interest going, and secondly to keep momentum and keep the business side going. If you don't get up in the morning and write some music for a film, no one else from the company is going to do it – even though my company is just me ... no one else will do it, so you have to really. I have no objection to doing what I love and getting paid for it.

They've got quite strict parameters. I think on the website I'm going to start laying down some rules, for myself as much as anyone else, about the differences. The Radioboy stuff is supposed to be just sonic exploration really, and it's the idea of taking sampled sounds to the extreme. I've stopped saying where the samples came from, to let people just listen. The Dr Rockit stuff – I add music to that, but it's more downbeat, or stylistically all over the place whereas Herbert is again the same ethos with sampled sounds, but in a house context. It's moving away from that though – more towards jazz at the moment.

It is, although, once you discover that sound is kind of everywhere, at all times…. I'm not obsessed with sound; it'd be like trying to see everything, everywhere, at once – there's no way you could do it. So, I'm more relaxed about it than I used to, but yeah definitely – I've always got a Minidisc and a mic. Particularly travelling – you always hear amazing sounds when you're abroad because you're more receptive to something new.    

Yeah, it's not even a decent mic!

Yeah – as it benefits me. I think technology's great and all that, but it's only ever as good as what you put into it. Until this year, everything in my studio was twenty years old. This year, I decided that I had to get a bit more 'with the 1980s' so I bought some shinier equipment. Something like the sampler is so important – it's amazing because it's empty, so when you turn a sampler on there's nothing there. It's all up to you how you use it.

Officially, kind of about a month ago, although some of the songs I've been writing for about five years, and there a few that I started three or four years ago, and one that I started six years ago, so it's been an ongoing process really and it's nice to put that amount of work into it accidentally – I didn't plan it like that. It's nice for it to end up that you've put a lot of work into it. It's kind of going in a different direction.