"My entry into Gong would've been the Camembert Electrique album, which I bought for 50p or something like that. A lot of people at school had that record and, in fact, my first entry into being in a band at school was a band that just did Gong cover versions. It was an interesting education as I was dabbling around on an electric violin, and what with all those interesting time signatures. We did a street party for the Queen's Silver Jubilee in 1977 and just played Gong covers! Later, down the line, one of the guys who was in the band became a member of Gong in the 80s, a guy called Graham Clark, and we got to the know them quite well. We were that much of a bunch of fanboys that we would make our way into the dressing room. There was a point when Gong founder Daevid Allen was playing with Here And Now, which was like this festival-type band, and every time they came to Manchester they let us play on stage using their instruments. We had this group called Danny And The Dressmakers and we'd play the worst noise you could possibly play; it was like an anti-band. We went on tour with Here And Now in a converted ambulance and did three gigs with them. And so we built a strong allegiance to the brand of Gong, which has carried on throughout my life. We also performed at the Gong Family Unconvention in Amsterdam at the Melkweg many years later, and Daevid Allen stayed at my house a few times. He was a very interesting character and proper musical melting pot in terms of where he comes from. I picked Angel's Egg because it's when the band was still experimenting. There are tracks here that are real improv, while others are really composed. There are tracks where certain members take a lead on it. They recently put a box set called Love From Planet Gong and listening to the re-mastered version of Angel's Egg, it occurred to me that this music couldn't be dreamed up in most people's imaginations. It's a fascinating record."

"We played with the line-up from this album at 2007's All Tomorrow's Parties. We were allowed to curate a day and we brought them over. That record A Minute To Pray, A Second To Die just got reissued on Superior Viaduct and they played a couple of shows in California. Danny Bland - a guy I knew from way back from the band Cat Butt, works very closely for Dave Alvin from Flesh Eaters [and The Blasters] - asked me if they came to Seattle, would we want to play with them and I was like: "Fuck yeah!" They were great man. They exceeded expectations I think and there were a lot of people at the show who were probably not familiar with the record but were familiar with the guys. They're like "we like The Blasters, we like X" but it's a totally different beast to those bands. It's got more of a Captain Beefheart, early Dr. John feel to it with the marimbas on the record, the Steve Berlin sax (another record with sax!). It was kind of an anomaly at the time. It was part of the punk scene but it wasn't a punk record. There was this thing at the time that I confused it with at first - bands like 45 Grave and Christian Death and the Dance With Me-era TSOL where everything was kind of getting satanic. I initially lumped it in with that stuff but it's so much better and further ahead of the game than that. The record for me was kind of a slow burn. I worked in a radio station and when it came in I put it on a cassette with a more normal hardcore band on the other side. I eventually found myself fast-forwarding through the hardcore side and just listening to A Minute To Pray, A Second To Die over and over again. It wasn't like initially "this is great!", it was more like "this is weird!" to a 19-year-old. Chris Desjardins' lyrics are awesome and dense and intense and pretty much like Nick Cave's. Both those guys - they don't write short, concise pop songs."