"I love Brian Eno, but I picked this album specifically because it's one of those albums that if you're up at six in the morning, stressed out wondering why you were up all night, I can just put this on and everything feels OK. It's almost superficial because it's so sweet and ambient, but I respect it a lot because it always piques my interest. I know he wrote some of the songs with Robert Wyatt from Soft Machine, and Robert Wyatt has this delicate, fragile sort of energy, I feel like that's there. An old friend of mine, Yuka Honda from Cibo Matto, the first band I was in, first played this to me on vinyl in the mid-90s. I was smoking a lot of pot in those days. I've read that Eno made it with the intention of actually playing it in airports. For fun I have put it on [in an airport] and there is something quite airporty about it… something machine-like about the melody. It reminds me of the architecture of an airport, it's not bustling or busy, it's like an airport when no one's there. I think it's the number one album I'd recommend for taking a bath to."

"Obviously, I'd been listening to hip hop since the mid-80s and kept half an eye on all that stuff as it grew. I was involved in rave culture really early, Spiral Tribe raves and stuff like that and clubbing in Leeds in the early 90s. There was always this really hard UK Garage sound that was great. I loved it. Wiley's come from being a kind of garage MC, one of those guys we listened to on pirate radio in Leeds. He's still got that really underground sound, the way he spits and he never loses that energy either. I was listening to his first album the other day and it still sounds like the future to me. It sounds so contemporary. When you actually analyse grime rhythms, a lot of it is from Nubian rhythms and a lot of the scales are Nubian scales, Algerian scales. When you hear grime, it just sounds like someone's car in the street in London. But then you analyse it and you realise there's all these global influences - it sounds like the whole world. This is what I wanted Melt Yourself Down to be. I wanted to try and create a sound that felt like the whole world."