SH: Does ‘From here to G’ your solo album mark an end for the Bullitnuts or is it a mere side project ala the solid doctor? 
LB: The Nuts are having a break for a while for various personal reasons. That's not to say we won't be working together again but I think after 9 years of producing together (we worked together as OPIK) we both needed a bit of time and space for other stuff.

SH: Your contribution to the Sty wars album 'Bizarre love Pentangle' deservedly makes its reappearance on 'from here to G'. That track has a magical timeless quality to it which makes it more rewarding with every new listen. Is that something you strive for in music?
LB: Thanks. It has been said that there are only 3 kinds of good music. The first kind you instantly like and then lose interest in after a few weeks. The second you instantly like and never tire of. The third is those tunes that on first listen you find plain or even dislike and it's only with time you come to love them. For me the third kind are the most interesting as it's those which broaden your scope and change your taste in music. Without sounding too conceited, they're cognitive as well as sensual. A lot of jazz and classical music is like that and gets ignored because it takes time and effort but the rewards can be far greater. When popular music does this, it's at its best and so I'm very complimented for you to place Bizarre Love Triangle in there.

SH: 'On loan' 'itchy feet' and 'step up' in particular stand up to anything you've done before under the Bullitnuts. Which tracks on the record did you find most rewarding personally?
LB: I spent far too much time living with the tracks on From Here to G and as with all previous work I've come away never wanting to hear the stuff again. It's really difficult to stand back and assess your own music objectively and I have this terrible habit of looking through a magnifying glass at it, searching for errors or wondering what could improve it. From previous experience I know It takes at least a year to get that out of my system, so I'll have a listen next summer and hopefully find some worth in it.

SH: How critical are you of your own work?
LB: The worst. I spend far too long changing things and then I'll go back to an earlier version of a tune and realise how much better it was. When you've heard something 50 times in one day it becomes really difficult to remember what was good about it in the first place. Detail is a curse. I have a big notice on the studio wall saying 'LESS IS MORE' and I repeat this mantra 23 times every night before bed. It doesn't help, I am an obsessive compulsive.

SH: Which artists/ DJs have influenced you musically?
LB: Have you got an hour? The list though not endless is extremely long. It is also very wide and high. From the top of my head Rhythmn and Sound's music has helped me a lot. It's all so simple and sublime. How they create such atmosphere with so little is beyond me. An (impossible to get) album by the Necks called Sex is another in that vein.
There's so much incredible music coming out at the moment. People rant on about how popular music is in some sort of moribund state and if you listen to mainstream radio and watch TOTP you might quite easily believe that. The fact is that the best music around today doesn't come from stars but from those on the sidelines. It's a shame more people don't have access to it. We get sent a lot of free vinyl and when you come across those little nuggets (and there are many of them) it makes you realise how diverse, progressive and truly artistic the music scene is. I think the past 10 years has seen a real renaissance for music.

SH: You're about to play the Rizla tent in Glastonbury this year, what have you got in store for the people?
LB: Layed back and eclectic will be the vibe. With the occasional oddity thrown in to tackle complacency.

SH: Are you going to be appearing at the Big Chill festival as well?
LB: It's become a bit of a tradition with the Pork lot and I wouldn't like to miss it. The Big Chill is THE festival as far as I'm concerned and though nothing's been confirmed yet, it looks very likely. 

SH: What's the best/worst experience you've had Djing live?
LB: The worst was in Belgium where for travel purposes Porky and I had arrived with a minimal amount of music thinking we knew what the promoter wanted. Unfortunately the hard trance that the punters demanded was not in our record boxes and we had to retire early to avoid a riot. This does raise the question-Do these promoters even listen to your music?
The best is weekends at my local bar, the Lamp in Hull. There's no musical agenda at the Lamp. Everything goes down from Bill Withers to Radiohead and even a bit of Rolf Harris on occasion.

SH: Are you disappointed by the distinct lack of recognition your type of music gets from the so-called independent media in the UK?
LB: Fuck 'em.

SH: I think Music mags like the NME for example, are scared of your muse for a number of reasons. Firstly it expands beyond any genre-specific musical boundaries to which they can categorise, secondly it appeals to people of all ages, and perhaps most importantly, you refuse to play the predominantly London centralised hackneyed publicity game by their rules. Do you agree?
LB: NME et al are part of the music industry which should never be confused with music. As an industry, it plays by all the same rules as for example the oil industry, and we all know what conniving and twisted fucks they are.

SH: Some of your tunes sound like Hip Hop instrumentals, Have you ever considered letting an MC bust loose on one of your tracks?
LB: You must have read my mind. I reckon there's a lot of my music that would work great with an MC and though I've often wanted it, finding the right person is difficult. I'd prefer a reggae style but I'm open to offers.

SH: I've been listening to alot of Charlie Mingus at the moment, whats going down on the Leggo Beast stereo?
LB:I spend far too much time flicking through music looking for stuff to play or searching for samples and inspiration. Music tends to be something that happens when I'm cooking or tidying up or answering questions. At the moment I'm listening to Donald Byrd's Ethiopian Nights which is fantastic. I tend to be listening to a lot of old funk/jazzy shit at the moment. Lonnie Liston Smith-Reflections of a Golden Dream, Millie Jackson-Caught up, Mandrill-Solid, loads of Miles Davis, Ramsey Lewis and Mingus's The Black Saint...has recently caught my attention. Other old stuff like Nina Simone-Pastel Blues, Roy Harper-Stormcock, loads of John Martyn. I recently got a full CD of Duritti Cloumn. 
MP3s, 12 hours of Vinni Reily on one CD. Technology is scary. It's incredible to hear all that stuff again. Quality time with music though, is something I need to work on. Those times where you just sit and listen without involving another task are a must.

• Leggo Beast : from here to g
• Bullitnuts : 1st of the day
• Various Pork Artists : Sty Wars

• Leggo Beast - Unplugged (RA)
• Leggo Beast - Unplugged (MP3)

• Pork Records