First things first. Where did the name LTJ Buken come from? It’s so drastically different from Danny Williamson, your birth name...

There is a connection in a kind of way: a long time ago when I was in my early teens I used to hang round a bunch of guys who were considerably older than myself, and one of them named me Book 'em after the guy on the 70's U.S. TV police and thieves show ‘Hawaii 5-O’ who used to say "Book 'em Danno" everytime someone was to be arrested etc...The name Book'em stuck from that day onwards, but with a different spelling when I started DJing.

LTJ is something I added in 1989 as I didn't want to be just DJ Bukem.

When it comes to drumnbass and breakbeat, your music is far less aggressive than most. Tell us a little bit about what inspires you to break the mould and create a sound that is so different?

I have always been into harmonies and melodies etc so I think whatever I made and listened to was always going to have more of a musical vibe than aggressive. Saying that what is aggressive to someone is not to another: with music you can never really describe what it is as someone else who feels it a different way will tell you it's something different.

You used to play classical piano. Do you come from a very musical family?

Both my parents play a little piano but not so much now...

Do you think your classical music training has influenced the style of music you produce now?

Not so much. I was very young when I started to learn the piano and like so many people at this stage you start with classical music, which I didn't always like, but some bits I did.

There are beautiful aspects in every genre of music, you just have to have the time and patience to seek it out. In terms of ‘did it influence me?’, I think if music is your thing then potentially every piece of music you listen to has influences on you at some stage in your life.

You credit a high school music teacher for your love of jazz fusion. Did this passion have an ongoing effect on your work?

Total effect on my life...

How so?

It changed my whole view of music...taught me that music doesn't always have to sound like the books tell you it should sound...freedom of expression. Something we are still actually fighting for now, and too many artists are told what to make, purely for money, totally not for the love or progression of the music...

Have you been in touch with him since?

Funny you should mention that as I have started to see him again, and hopefully complete a lot of unfinished tutoring...

How important to your career was your gig at Raindance in 1991?

Every gig I got given from 88-92 when I was really trying to get somewhere helped me immensely in my progression towards today and I will forever thank the promoters who believed in me at that time and had the balls to put me on, because I did and do see things differently from other people which hasn't always fitted into the normal way of doing things over the years...

Over the years you copped a lot of flack from people in the industry because of your style music and the direction you were taking your label GoodLookingRecords. Did you ever consider changing your style or giving it up altogether?

Musically, never...I've always said what you think of me is your problem, certainly not mine...and I can't make or play music I initially don't like, I have to love what I do otherwise I can't do it.

You spend a lot of time both behind the decks and in the studio. Do you find creating your own music more satisfying or do you prefer performing around the world for thousands of fans?

I enjoy both equally...but as a matter of fact I spend more time on the road and dealing with the record label’s problems than writing music, which is a shame but my destiny if you like.

The Progression series is still today recognised as some of the most important drumnbass albums to date. Did you know what effect it would have on GoodLookingRecords and your career?

Not really...it was something I really wanted to do ourselves as so many people have recorded me over the years and released the tapes without my consent just to make a bit of money, not the one...so I really wanted to have my own live series, in my control...and also just wanted people to hear the music in the right way...

You have over 30 releases to your name so far, not including compilations that you appear on. With the release of 'Music' you managed to completely turn around the public perception of drumnbass. Do you think that the fundamental sound of DnB has changed over the last decade or do you just think that people are more open minded about what DnB can offer the dance community in general?

Drum and Bass is still one of the most open minded forms of music today. I think the reason why it hasn't got as big as other commercial forms of music like house etc is because bigger companies have to change the way they market this music which proved very hard in the last 5 years.

You produce, you write, you DJ, you run your own label, you remix tracks by other artists. How do you find the time to get everything done as well as touring the globe playing for audiences everywhere?

I don't...sometimes it's so hard to get it all done. I suppose that's what makes me get up every day and try...but I must learn how to live more...because as Herbie Hancock says, "Music comes from life, not the other way around", and I think diving into your work not allowing any kind of life to exist apart from work is not healthy...and for the best part of 10 years that's what I've done, but I'm working on it!

What do you do to relax?

Good question...I haven't got an answer for that yet...

You have worked with MC Conrad quite a bit, especially on the Logical Progression series. What do you think it is about his MCing that fits in so well with your smoother style of DnB?

We met in 1990 at a rave in the West Of England...I heard a recording of him MCing over my set and called him to join me at a few gigs...and that was that, we had an instant connection which hasn't changed ever since...

We both love what the other person does, so things naturally come together when we perform.

When you are signing new tracks or artists to your label, what are some of the things you look for in new talent?

I listen to every piece of music that comes through our door. If I like what I hear I then make contact either myself or through my A&R girl Sarah. I then listen to what future bits the artist makes and take it from there. It's still down to the artist and how much he or she is prepared to sacrifice because having the ability to write excellent music is one thing, and working as hard as you have to, to produce, DJ and sell non commercial music as we do is another. Attitude is everything.

If after a time we enjoy working together as label and artist we then talk about signing.

As well, people just send in albums, which if I'm into we will also release straight away.

What do you have planned for your fans in the next year or so? What can other DnB DJs and listeners expect from GoodLookingRecords in the future?

Most important stay healthy because without that you got nothing. Keep bringing the sound of Good Looking to the wonderful people who support us, because with out them we wouldn't be here. We have a lot of artist albums in the pipeline which is exciting for us, both on Good Looking and Cooking our downtempo imprint. We are about to start a house imprint Deep Rooted which I've wanted to do for a long time. 1st 12 comes out next month. DJing more than I ever have which is both fulfilling and very challenging. Hopefully get another solo album done at some stage. And off course work out how I am to relax...