Born in Yorkshire but now resident in Seoul, South Korea, David Thomas Broughton is a musician with zero respect for convention. On the face of it, he is a singer-songwriter who works within the world of indie-folk. However, a few minutes into any of his live shows, genre becomes irrelevant as his songs take on a life on their own; his baritone voice and acoustic guitar blending with the often random elements around him - everything from raw vegetables to rape alarms - to create something unique to the moment.

As he speaks to me from his parents' home whilst preparing for a tour, he admits that he prefers to keep everything, even mistakes, just in case there is something accidentally brilliant in there.

"You have to wade through a lot of awkward moments in order to find some gems, but I find that quite interesting," he says. "I think there's a lot of people that would hate to do something like that, they feel that it is exposing something that they don't want people to see, but why hide away something that is truth and human about you."

He writes beautiful songs but often bends them into unusual shapes, unafraid to let noise and chaos into the mix. His current adventure sees him collaborating with a classically trained a cappella trio, The Juice Vocal Ensemble, or Juice if you prefer, three women more used to working with exact scores than the accidental music that Broughton conjures up. They have just released an album together, Sliding the Same Way, which manages to blend their two musical worlds with such skill that you don't notice the join. If anything, this time around it is actually the lyrics which strike a jarring note. The opening track on the album 'In Service' is a lovely gentle tune on which Juice sing the refrain "I killed a man with a broken glass." On the beautiful and carefully constructed 'The Promise', David's baritone intones that the actual promise is "to glass every one of these pricks in this bar".

The Juice Vocal Ensemble (Kerry Andrew, Anna Snow and Sarah Dacey) heard about David through Gabriel Prokofiev, who runs their label Nonclassical. They encountered his show at the Yorkshire showcase at SXSW and had made tentative plans to work together, which came to fruition with this album and tour. It turned out that years ago they had moved in similar circles, even attending York University at the same time. "I was in the biology department and they were in the music department so I never met them," David explains. "They've been doing Juice Vocal Ensemble since just after they graduated which is the same amount of time that I've been doing my thing. They do these really interesting yet different experimental vocal techniques and they incorporate beatbox and other things. They are classically trained musicians - they usually perform pieces by people like Morton Feldman and Meredith Monk."

Currently David lives in Seoul, South Korea, and Juice are split between London and York, so was that prohibitive in trying to create an album together?

"Every time I was in London I called them up because, in order to make the shows more interesting I was gathering people to improvise with - to come along and be part of a makeshift band," he says. "Juice improvised various vocals which was really good fun and they enjoyed the challenge of the spontaneity and freedom because they are used to following something a bit more scripted, so we just continued to talk about doing stuff together."

And when it came to record, things fell in to place really well.

"Old school friends of mine live up the road," he continues. "Their Dad is a sound engineer and he has a studio in his attic, so Juice came round to my parent's house, we practiced a little bit and then we went up the road and did this recording. In advance I had written these new songs and my original idea was that they could contribute as much as I was contributing, but they were much more comfortable with me writing the songs and for them to provide whatever they felt they could provide."

They did two sessions several months apart, each lasting around four hours, recorded in real time and using mostly first-takes. So did the vocal ensemble become almost like another instrument in his arrangement?

"Yeah, well, albeit one that I'm not in control of, but then I do leave things running without any control over them," he laughs.

Anyone who has seen his live show can vouch for this, as it takes unexpected turns, creating looped backing tracks with his own voice, his instruments and some unusual gadgets, as well as the sounds around the audience and the room. How does this translate to the studio, and has he ever worked with a conventional producer?

"I think the album Outbreeding (2011) was more of a collaboration with the guy whose studio it was (Andy Ramsay, once of Stereolab). I let him contribute ideas, and he taught me something which was quite valuable about making quick decisions and just sticking with it. I know that people spend months and months in a studio trying to perfect something but I think it's much better to say, this is how it is, this is the moment in time, let's not worry about it."

One person whom he has worked with recently is Greg Butler, who is making a film about him, The Ambiguity of David Thomas Broughton.

"That is all Greg's project. He made a video for my song 'Nature' and we got on. He's interested in surreal things and stuff that makes you laugh. He had always wanted to do a documentary so he has gone around and got in touch with all these people for interviews. He doesn't want me to know what anybody has been saying, he wants it to be a surprise. All I did was be myself, but in front of a camera sometimes, so they recorded a session of me producing music from scratch. It is quite exciting that he's making this thing. It is flattering but also a bit embarrassing."

One remarkable thing about David's life is that all these projects are going on, yet he has been based on the other side of the world for the last few years.

"We're living in South Korea at the moment, in this amazing area of Seoul which we specifically sought out because it's right next to the Arts and Music University," he says. "Lots of little independent gig venues, cafes and galleries there are putting on really interesting shows. All the venues are a ten minute walk from where I live, and I've played a few shows there and I've met some interesting people. However there is a thing where everybody has to be technically quite polished because at the university everyone is forming bands and they're really good players. The music that I make is difficult for them to approach or embrace because I'm coming from the opposite place to them."

That environment sounds very fertile and creative though.

"Yeah, I think people are open to people creating something different, there's a real emerging scene feel about Seoul, in think people are a little bit fresher to it in East Asia than we are in Europe maybe," he says. "I think I'm going to start doing things there, I've not really been very organised, I'm not very good at meeting people so it's a very slow process, that's just my own disposition. A few people have agreed in principle to have a go at making some music with me, just spontaneous music, so that would be really interesting to see what can come out of it. There's a jazz saxophonist I'm keen to do some work with, and there's a promoter who runs a label called Helicopter Records based in Seoul. He just puts out kind of crazy noise music or glitch, really weird interesting stuff and that's an element of music that I like and sometimes it creeps into my performances - noise, verging into harsh noise!"

Before Seoul, David's first overseas job saw him posted to Pyong Yang, North Korea, which was obviously very different.

"We were there for three years. It is much more restrictive of course. I did a few shows for the ex-pats just in people's flats but there's no way of doing anything more than that, any kind of social integration between foreigners and Koreans in North Korea is completely restricted."

So was it difficult for him to keep releasing music and performing in the UK all through that time?

"Not really, it was just like going away for work, I was just going back to Europe to play shows and do some recording," he explains. "The interesting thing about being in a very small ex-pat community is that everyone has to have this positivity and inclusivity and because you are all away from home in a strange place, you have this shared experience. I got a few people together to play, as people wanted something to do and wanted some entertainment that was Western, so we had a covers band and we did some songs that people would recognise. It was interesting and really nice to not worry about doing 'the right' kind of art and worrying about people criticising you, people were just there because they wanted to enjoy something no matter what it was."

Finally, given these contrasting cultures which he has been working in, had his inspiration and influences changed?

"I don't think that the basic inspiration has changed, because it's kind of just everyday life, and everyday life has the same number of factors. They just alternate between how much one is present and how much something is changed by some cultural element, but generally the human condition is often awkward or at odds with things." He pauses for thought. "I get inspired by awkward or sad situations, or situations that have mixed emotions, I don't know whether I'm trying to make my music represent this or whether it just naturally does become that, through the osmosis effect of daily life and awkwardness coming in. But I think actually maybe I'm getting happier. The themes of the songs have matured and become more grown up themes," they're not teenage angst anymore, they're kind of middle aged angst," he laughs. "Maybe the scenarios in my head that they're representing - even though it's not literal - are family-type, settled down, grown up situations, whereas before it was much more fluid situations like the times when you're a child, you don't know where you are going, you've got lots of different stages in your life coming up ahead of you, but now things are settling down and it's a bit more like observing the world rather than observing the imminent changes in your own life. I don't know, I try not to analyse it, things just come around organically without necessarily having a specific prompt."