"When I was growing up, hip-hop was pretty new. My oldest brother was really into it. Also, we had MTV from about 1990 onwards, so you'd see all these different people - A Tribe Called Quest, Public Enemy and Gang Starr - just became a soundtrack to whatever we were doing. I picked that one because I love DJ Premier's production, but also Guru's voice. I'm a big fan of the experimentation within hip-hop. Nowadays, people feel hip-hop has gone mainstream or whatever, but at that time, people were making records that were sampling very out there, experimental music, but combining them with parts from classical or jazz recordings, resulting in this very dense collage of sounds that is at times not even very melodic, but it's always got an amazing groove to it. It was those aspects in combination with Guru's voice, I just found it really inventive and exciting. Also, I would listen to it, and want to know where the samples had come from, and then I would go on missions to try and track things down. I think there was a Monk Higgins sample used on the track, 'Code Of The Streets', and that's just very alien-sounding. It's very basic, but it uses this beautiful violin part all the way through the track. They must have just been listening to such a wide variety of music, and what they've come out with is much more interesting that what came out post that era of hip-hop. You get some songs where there's a whole song taken, with just new lyrics added on. Back then though, there would have been as many as forty songs sampled in one song sometimes."

"I don't think I can explain how significant that record was to me. And the more I travel through my life as a musician, the more I find myself coming back to it again and again. My mom had a giant stack of vinyl – mostly classical, with a few rock records. When I was seven or eight years old and started listening to music by myself, that album became the daily soundtrack to my life. I would ask someone to put the record player on for me and I would sit there with big headphones one, listening, and having the record flipped over again and again and again. I would put the music on and just stare at the cover for 45 minutes. The artwork was so important. Sgt Pepper's was full of lyrics I could understand, stories I could follow, music that just made complete sense to me. I understood all of it, and it took me into a world. I think that was the first time I really fell in love with a record. I loved 'Lucy In The Sky With Diamonds' and 'She's Leaving Home', but one of my favourites was the opening track. What I really wanted – what I still want – was to feel like I was at some amazing happening. As a seven-year-old fantasising about being a rockstar, which I was just starting to do, every time I listened to that opening track, I imagined that somewhere there's this group of people in this psychedelic wonderland listening to the Beatles. I didn't have any clue who the Beatles were or what they meant, I didn't have any fucking context. I just knew that if there was a party, this was the one I wanted to be at."

"Well, what can I say? This is a hugely exciting record. Aphex Twin has got a huge reputation, obviously. When I was 16 it was one of the things which I had on MiniDisc, which we all had back in those days! I would just listen to it continuously. It was just around the time I was starting to make electronic music on my own, and I remember thinking, how can you make this? The technology I had and the software I had was absolutely shit, and I remember fiddling with it and thinking that I couldn't figure out how to make these drum beats so complex, and so delicately put together. Every five seconds or couple of bars something new happens. There's none of this copy and paste which all dance music at the time was doing, thinking in particular of that kind of Ibiza dirge that was shit and was on the radio 24/7. You just get 15 bars of the same thing, then one change, whereas Aphex Twin was the exact opposite of that. He would just keep your interest piqued the whole time, and that's one thing which I have always strived to do with the band, just to stop things being boring. Perhaps we push it too far, but I think all the 'inciness' and the whole thing about not letting it rest and be copied and pasted, I think is in my music as well. The other thing about that record is that it's not really a dance record at all, it's just music. I mean you can dance to it if you want, but there's lots of classical stuff on there really. There are lots of quiet moments, and lots of awkward stuff that is not really dance music."