"I was either going to pick this one or Are You Experienced? but when Electric Ladyland came out there was a clarity to it and it was easier for me to figure the songs out. Because it was a double record it sounded much more organic and earthy too with songs like ‘Voodoo Chile’ and ‘Voodoo Child (Slight Return)’. Other songs like ‘Rainy Day, Dream Away’ meant that you just buried yourself in the music and it became so important to you. The record also had a really cool name!"

"There are a lot of parallels between this record and the roots of Underworld’s inspiration. Film music. Taking sounds and songs and melodies from other tunes and fusing them together with other music in a completely different key. And it just has this dusty, beautifully dirty quality – like film noir through a dirty window. I absolutely love it. We took it to Chile with us, Rick and I, and played it in our hotel room and decided it was the best thing we’d heard in years. It inspired us to start writing there and then in our hotel room – music that went on to be part of the download-only records we did. It encouraged us to be a little less produced. It’s an amazing soundtrack for what’s going on around you. There’s a link between these first three records – especially with James Blake – the way that the voice is treated. It was very exciting to hear the voices on the Burial record treated in such an unprecious way. Taking vocals as oscillators, as we’d always seen them, like another synthesiser that’s capable of generating incredible noises. That in itself was inspiring."

"The reason I love this record, apart from it being an absolutely incredible record, is that up until hearing Marquee Moon I wrote songs on my own and when it came to putting things together with a band, I would always have in my mind that I would play chords and then break for a solo and then have some more chords. A friend of mine who is a great guitarist himself asked me whether I had heard a song called 'Marquee Moon' and suggested we try learning the guitar parts together. We sat down like teenagers and tried to learn them. I suddenly realised that you can have loops of really intricate riffs – it doesn't have to be just chords and solos. So, Marquee Moon changed my attitude to arranging - in terms of the guitars - a song. But then, weirdly, after that the track 'Marquee Moon' began to haunt me out. I had some gigs in Australia and Brazil and I figured out that if the record company gave me a round-the-world ticket it would be cheaper for them and also mean I could go to places like Thailand and Chile in between the tour. And every single place I went I would hear the track 'Marquee Moon' being played on local radio stations. It started to become really, really creepy. So, when I came back from the tour I thought I better buy the bloody record as it was haunting me. I found it for a quid in a charity shop as if everything was lining up for me to listen to this record in its entirety. And I did, thankfully, and it has just really changed my attitude to playing guitar and how I could structure things differently in terms of guitar playing."