Squarepusher has always been one of the most fascinating figures in music and has always made some of the weirdest and most fascinating sounds around. Not just competent in his chosen genre of electronic music, he's also a world class bass player and jazz musician. Ufabulum is his 15th album (if you include albums put out under a couple sobriquets) and is out now on Warp.

We chatted with Tom Jenkinson, a.k.a. Squarepusher, and spoke to him about how purism is for cunts, how record labels are bollocks, and how his new album has come straight from his brain.

You've got a new release coming up for Warp (Ufabulum) what's the story behind it? Where have these songs come from?

The story is that I've put all the guitars and drums etc away and just used a sequencer to make the record. So there is no playing, no performance as such, just programming. The songs came from my brain, mainly.

Where did the name Ufabulum come from?

It is actually shorthand for when you want to address a thing called a 'ulum' in order to say that it is fabulous.

What do you think about Warp? Which labels have been the best for you over the years

They pay me on time. I tend to think of labels in terms of who is the least crap. Bollocks to record labels!

What direction are you wanting to go with your music? are you looking more into the dance aspect or the composition aspect?

I don't see composition as as being separate from the dance aspect of music. Even dance music needs a composer! Broadly speaking, the direction I'm currently interested in is to get as far away from playing instruments as possible and at the same time to try to make my music sound as synthetic and unreal as possible.

People often associate your music with video games - is this a parallel you meant to make?

In the late '90's some of my music was making references to video games and I used audio recordings of games as an intro to my live sets from that period. The sound of early home computers and arcade machines made a big impression on me as a kid. I loved how alien and brutal they sounded.

The new album has been billed as "pure electronics" by Warp - is this as a response to your more recent departures from the straight up electronic or what's the reason?

Broadly speaking I wanted to get away from making music featuring instrumental playing. Calling it pure electronics is a bit stupid –I don't really like the idea of pure anything in music. Music thrives on cross pollination and purity to me signals a lack of vitality.

Your new video is very visually striking despite being predominantly black and white and lit by LEDs, while you describe it as being an interpretation of an "apocalyptic nightmare" - where did the inspiration come from to make the interpretation using the medium you did?

Partly it came from a dream about missile traces in the night sky, which signalled an apocalyptic disaster. I'm sure that dream was partly related to the video game “Missile Command” where missile traces gradually fill the screen –as much as I liked playing it, it spooked me. I grew up in the '80's when the cold war was still a major factor in international politics. As a kid the idea of this frozen conflict quietly scared me and informed the way in which I saw the world.

Ultravisitor was one of my favourite albums when I first heard it - was the sporadic nature of the album deliberate, or was it just how the album came together?

That album I always think of as a gargantuan mess, but I'm fond of it. At the time I thought it would be my last record which no doubt informed the way in which it came together. I was trying to make a conclusive statement. In reality it was anything but that.

Ultravisitor also seems to capture your need for the entropic, almost anarchic nature of your music - is that a fair statement? In your later albums things seem more cohesive, with a slightly stricter set of boundaries (though far from conservative or narrow), is there a reason for that?

I'd say it was fair enough. Overall I like to leave this kind of discussion to other people. I can see what you mean, but I think these questions are better solved by the public. Isn't that part of the fun of being a music fan? And if I gave some judgements related to what you say, would people believe it in favour of their own view? I've got no need to interfere with people's opinions about me and my work.

You're famed for your ability to play bass guitar to an extremely high standard and have been known to put on jazz performances - what parallels do you see between this and the dance side of your music? are there any?

Well at least some of jazz music could be called dance music. But all in all I don't like to get bogged down thinking about genres. Genres are best used just as terms of convenience that spring up after the fact. Treating genres as if they are antecedent to and deterministic of musical activity seems to be putting the cart before the horse. And quite often it just seems like thinly veiled territorial /tribal behaviour to get all hot and bothered about the differences /qualities/deficiencies of genres. I generally take music as I find it. I'm not interested in all of the chat and the biog and the hype and so on.

You're also well known for your live shows, and the visuals that accompany your music. Has there ever been a point when your vision for how you'd like your live show just hasn't worked out, whether it's money or just not being able to pull it off?

I tried to put together an improvising band in the late '90's to play music akin to what I was doing on Music Is Rotted One Note and Budakhan Mindphone. We did a couple of shows but it was too hit and miss and also hard to coordinate logistically.

Have you ever been tempted to write a straight up 'pop' song?

I'm not interested in doing 'straight up' anything in music, I just haven't got time to do what other people are already doing.

What are your standards when writing new music? How meticulous are you when writing new tunes?

I have to be moved by it. If music doesn't move me it really doesn't matter how innovative or clever it is. I'm about as meticulous as it is possible to be given sensible time constraints. When I work on music I don't really do anything else, I devote everything to it.

What do you see as the future of dance music? Do you think the cross over it has with a lot of mainstream music (for example, David Guetta, Skrillex) will damage the art form, or will it help the genre?

Cross pollination is good principally because purists don't like it, and purists are cunts. Any crossover will have good and bad effects but that is still better than trying to prevent crossover because all that leads to is music become stale, lifeless and fit only as a subject for music writers.

Ufabulum is out now on Warp Records.