Mike Matheson has been making music as Beef Terminal since 1995. In that time, he's made his mark as a harbinger of ambient guitar/electronic textural masterpieces. Mark Russell sat down with the man himself to discuss his music, including how different the response is here compared to Europe.

TELL US ABOUT ANGER DO NOT ENTER. IT'S BEEN A FEW YEARS SINCE THE LAST NEW ALBUM - ANY CHANGES IN STORE? ANY NEW TOYS IN THE STUDIO TO TINKER WITH?

I'd like to think I make changes with every album, but I guess that's up to the listener. I always want to challenge myself, but I also understand that there are people who like what I've done in the past, so I try to please them as well. There are at least a few tracks on this album that I approached differently than I normally would. "Everything is alive" for example would be one that if I had used the old method would have turned out far worse. The song was sort of crappy and was saved in the mixing stage. As for new toys, I try to add something before recording any album. This time I was recording straight to laptop and programming my own beats on a Roland MC-909 groove box, which was something I hadn't done before.

JUST AN IMPRESSION FROM THE WEBSITE, BUT YOU SEEM LIKE A TALKER. YOU GIVE LOTS OF INFO ON THE PAST SONGS, PLUS SONICALLY THERE IS A LOT OF LAYERS TO YOUR COMPOSITIONS. HOW DO YOU APPROACH "NARRATIVE" THROUGH AN INSTRUMENTAL?

They always told me in school that I talked too much. But generally I am just trying to make a connection with people that listen to my music, to let them know that I appreciate them and I try to let them in on the process a little bit. It seems to work out ok, although sometimes I worry that I'm giving too much information and I should just be more silent. I'm not sure I really look at "narrative" when I'm writing music, but after the fact I can see how someone might think about it. Basically I like to start with a beat or guitar line and just let it evolve from that, get out of the way, and see what happens. There is certainly an element of repetition, which is what I use to get the mood I'm going for.

DO YOU THINK INSTRUMENTAL MUSIC OFFERS A MORE PASSIVE OR ACTIVE LISTENING EXPERIENCE?

I think that I can be whatever you are in the mood for. That's the great thing about instrumental music. I know when I listen to Do Make Say Think or something, I can be really paying attention or I can be cleaning the house. Either way, it still sounds great. Although something like Godspeed would probably demand a little more of your attention.

DO YOU THINK IT'S IMPORTANT TO USE A HOOK OR SOMETHING CATCHY TO DRAW PEOPLE INTO A SONG? HOW MUCH OF YOUR SONGWRITING IS FOR YOURSELF AND HOW MUCH DO YOU HAVE THE LISTENER IN MIND?

For me it's very important. I come from indie rock beginnings, writing very melodic pop songs. No matter what I'm trying to do that is still with me, so I think it comes out. Some songs more than others, but the hook, whatever it is, has to keep me interested and happy over thousands of listens. That can be a challenge. I do keep the listener in mind more when I'm deciding what songs I'm putting on the album, trying to make sure there is something for everyone.

HOW DOES TORONTO'S SCENE COMPARE TO MONTREAL?

To be honest, I'm not really sure. I certainly don't claim to be part of any scene here, and I don't really know what's going on there. It's not something I pay too much attention to. I love playing in Montréal though. Great music fans there.

HOW WAS THE EXPERIENCE OF GOING TO BARCELONA AND THE SONAR FESTIVAL?

Going to SONAR and my trip around Europe was one of the highlights of my life so far. It was so eye opening to see how people react to live music and DJ culture in Europe, specifically Spanish fans. It makes our culture look pretty uptight. One of the highlights, besides playing, would be seeing the Chemical Brothers in this huge stadium and watching thousands of music fans totally lose their minds as soon as that music started. I'll never forget it.