How do you mix so many unique genres to create your own sound?

I’ve been playing music for many years, so it’s a bit of a regurgitation of all those influences – there’s links between them. It goes from jazz and reggae all the way to dance music, rave culture and stuff I was massively into in the ’90s.

There’s a lot of things on the album where I’ve mutated live instruments into different instruments. I’ve played certain things and turned them into saxophone lines, and then I’ve messed around with the voices. I wanted a glitchy, strange, robotic AI feeling.

What did your production process look like for the album?

I’ve got my friend Robin playing trombone and trumpet on one of the tracks, and then another friend, Alex, doing some electronics. There’s also a string quartet. But apart from that, everything is done in my studio. I usually just play everything else myself and fix it all in the computer afterwards.

How has your experience of hearing loss affected your music?

I’ve had a massive hearing issue in the last couple of years and I’ve lost a lot of stuff due to that. I wasn’t totally sure this record was even going to get finished. It changed the focus on where it was going and what I was trying to do. So this album has a bit more substance behind each of the tracks, a bit more intention.

Do you plan on doing any performances this year?

I’m not so interested in live shows. I think I’m going to try and do some sort of funding application to put on something different. I’m looking for a different way to do things, particularly how I can do electronics and live stuff.

• Vol.II Cortis is out now.