"Lyrically Dizzee Rascal is phenomenal, and musically he's one of the most progressive, forward thinking grime artists and musicians of our time. He won the Mercury Prize over ten years [before Skepta], which says it all. This record was what I listened to when I was commuting to and from Slough, when I was just starting Gallows, I was listening to it nonstop. I've loved grime since I was young, I've always loved hip hop but grime was so quintessentially British, you couldn't have made it anywhere else. To me grime is punk, more now than ever. Punk to me was the sound of disenfranchised youth, and that's what grime is. You take everything away from young people and tell them what they can't do, at some point they're going to say 'yes we can', and that's what's happening now. They feel discriminated against and now they're making the right fucking decisions by showing that. I think it's a classic record. What's really nice to see is that back when this arrived on the scene it was still very much about beef in the grime scene, people were still writing diss tracks, whereas what's happened recently is that when he played those tenth anniversary shows you just see everybody celebrating it, celebrating the fact that here's an album that did so much over a decade ago, and now we've just had a second [grime Mercury Prize winner]. I love that, but my problem is that there haven't been more. I love that these are being used as bookmarkers, as milestones, but we need a lot more than that, more progressive, forward thinking, unique individuals. That's what the Mercury Prize is supposed to be for, though it misses more than it hits."

"Discharge do write short pop songs. They're like punk rock haiku. I love Hear Nothing See Nothing Say Nothing and still listen to it regularly. To me it's not only a great punk rock record it's also a very psychedelic record, which may not seem normal to most people. Of all the records I ever listened to while tripping on acid, this is the one that sounded the best. You'd think with the lyrics and the cover that it would be a scary proposition. It was more like getting wrapped up in the sound. The guitars sounded like they were in a hall of mirrors, there are so many layers bouncing back and forth. You can almost kind of view the whole record as one long song, or a piece with these little movements. I've obviously thought about it way too much while tripping on acid! From that era - the early 80s - I was really into Discharge, Crass, Zounds, some of the other Crass bands, but a lot of the other stuff like Peter And The Test Tube Babies seemed really dumb to me and weak. I didn't get into Oi! bands. They'd tend to have these dumb singalong choruses and chanting and the guitar parts always seemed to be like ""the box"" - a four-fret pattern. Of course I loved a lot of the earlier UK punk rock bands. That's a problem with these lists where you have to think of thirteen albums. I can't fit The Damned in there, I can't fit Pere Ubu. I could but I'd have to take something out and all these records are equally important to me. It's like choosing between children or favourite grandparents!"