With a minimum of money, but plenty of time, Green worked on his music, mixing sounds that would one day find their way onto his first full-length disc Ð Animal Magic. What followed was a roller-coaster ride of a year which saw Green open for Amon Tobin in what was to become a much-lauded American tour, sign with Ninja Tune, a major player in the down-tempo music scene, and complete an eagerly anticipated sophomore release, Dial M For Monkey.

Green's music is a unique blend of meticulous experimentation, consummate tonality, and an aural understanding that leaves the most fanatic audiophile satisfied. Dial M For Monkey's ten songs are an accomplished fusion of live instruments, digital manipulation, clever keyboards, and eclectic sounds and samples.

While some musicians require very specific environs in order to let their creativity loose, Green is beholden to no such limitation. "There is never a bad time to think about music. That's what I enjoy the most. Sitting around the studio and messing around with things." Green also follows no set model for putting his songs together. Inspiration can strike at any moment, or can arise from casual fiddling. "You never have a concrete idea of how a track is going to end up. You have a little idea, and you take it, and see what feels right in the moment. Most tracks just come out of experimentation and as I go on, I just add sound and try to flip things around. "

Green's influences are as varied and eclectic as his music. "Lots of jazz people, like Pharaoh Saunders and Alice Coltrane. They're very into the kinds of things I'm into, using many different sounds interlaced within the track, and I like drawing on sounds like that, impulsive sounds that fit the mood." Green also derives much of his creative impetus from film scores and visual imagery. "When music doesn't have vocals, it's good to have, and work with, pictures and images, to play off of them with sound. I'm also very into soundtracks, and that is some of the stuff I use to get ideas from."

Both of Green's albums exhibit a well-crafted blend of digital work and live instrumentation. In a genre dominated by laptop computers and editing programs, music that combines the distinctive elements of live instruments and digital editing is a rarity. Green's studio is seemingly a Herculean struggle between new and old technologies. On one side, old fender basses, keyboards, and guitars vie for space with what some would call antiquated drum machines and samplers. Directly opposite is an Apple G4 desktop as well as a G4 laptop.

The combination of old and new might seem contradictory, but in actuality is a boon to Green's music. "The old stuff is kind of limiting. It sounds good, but is lo-fi, and sometimes you want the big stereo sounds. Like, I'll make a break of a loop on the emulator, which is a really crunchy, low sound, then put it into the audio, do a few things there, and do a few other edits that I can't do on the old machines, then use the guitar and the keys to lace more sounds and effects, before moving to Logic to finish it up." Green's training as both a bassist and a guitarist definitely contributes greater musical depth to his tracks. Lacing live bass and guitar rhythms over the grooves and instrumentation he creates digitally enhances the authenticity of his music, providing a warm classic sound that digital can't always replicate.