Earlier this year one-by-one, week-by-week, various of members of The 405 fell in love with the music of Deptford Goth via their own individualistic little out-pouring of praise and emotion.

Be it by way of the videos of his striking a melancholic-yet-joyous chord, jolting an emotional connectivity from his live set, or in the plain old-fashioned method that was giving his debut album Life after Defo an immersive spin - the outcome was the same. Adulation. Catharsis. The want to share. Peckham-based Daniel Woolhouse is the man behind the moniker who creates an astonishing blend of rich, organic sounds with the digital, a sound that's drowning in a cleansing sorrow yet is intrinsically life-affirming. Paradox-city.

So we had a a little chat with Mr Goth about the record and what influences his sound. If you have yet to get aboard, we'd thoroughly recommend picking Life after Defo up on vinyl for a soulful, powerful listen - out now via Merok.

The LP I find is emotional honest without being literal or explicit about things. Do you find it vulnerable being honest on record, knowing that people will hear your deepest emotions? Or maybe the opposite is true?

I wasn't aware of it so much when I was writing and recording. It's only when you bring in a listener that it becomes a factor, and I guess by that point it's too late to turn back... But I wanted to make an honest record so hearing that people connect to it on an emotional level is good.

The transition in sound from Youth II - how did this change occur?

With time and exploration probably. Also Youth II was recorded on Garageband with no monitors... Since then I've learnt a lot and had more time to think about songwriting.

Was there a defining moment when recording, or writing a song, when you realised how the album would ultimately sound? Sort of a blueprint?

There was definitely a point when I had 4 or 5 songs where I was happy with the sounds of things, and in a way they guided the direction of the others. All of the songs kept changing though, evolving alongside each other.

The vocals are more prominent and not masked - is that a sign of confidence with your work?

No I think it just made sense with these songs that they were more lyrically and vocally led.

Rodaidh Mcdonald of XL of course helped out with album mixing. What did he add to the process?

He was another pair of ears, a technical advisor and a source of encouragement.

Tell us about the relationship between 'digital' and 'real life/organic sound' on the record.

There's a blend of midi and real instruments, I like the idea of making one sound like the other, or letting them react against each other. I think you can get a rich landscape from using sounds from different sources.

Why did you choose to create your videos yourself? How did the concept for the 'Union' video come about?

I enjoy the process of making them, so it made sense. If someone else had done them I think I would have been missing out on an opportunity. The idea for Union just developed from an idea of a journey, of being carried along.

And how cold was the sea?!

The temperature wasn't too bad actually! I did have an issue with my coat getting really heavy in the sea... Brief moment of panic.

What's the thinking in regards to displaying the lyrics in these videos?

I think it adds another visual element but also brings the content of the song to the fore. I like that.

Your appreciation of Mariah Carey (for example) has been documented - what pop of recent have you been enjoying?

The Mariah Carey thing sort of ran away with itself... I've read things that say I covered her song 'Real Love Fantasy'. I'm not a massive fan but I like 'Fantasy'. I'm into the new JT album.

What aesthetics of pop do you enjoy, and do any feed into your sound?

I think a bit of everything feeds into your sound, there are memories of loads of things going in to what comes out of you. There's probably choices that have already been made, earlier along the line. That's all part of making something, making those decisions, left or right, a or b.

What can we except from a DG Live show? And has it been a challenge to work out how to perform the tracks live?

At the moment I'm performing live with a cellist. I'm on a synthesiser most of the time and I've got some midi controllers, triggers and things too. And some guitar sometimes. The main challenge has been to realise that it can be good to strip things back a bit sometimes, let the song do the talking, or something.

Peckham's becoming a bit great right? What are your favourite things about Peckham?

Peckham's been great for ages. I can only speak about the last 8 years but I'm sure it was great before that too. The best thing is that there's some good people here.

Life after Defo is out now, and we recommend you pick up a copy.