"I was involved with Homelife, but I was more of a session musician in a way as I wasn't involved in the writing of the music; I don't see it as my band. The core of the band was Paddy Steer and Tony Burnside, who'd both been in Yargo, and a musician called Simon King who was from London and had been in many bands. Computers had just reached that phase where you could do proper recordings on them. It wasn't Pro-Tools but you could do decent hard drive recordings. It was an interesting mix of people of varying age groups and genders, which made it very rich. There was a singer called Seaming To who'd appeared on records by Mr Scruff and she had this incredible octave range, and I played bass clarinet. It was like a digital orchestra and it felt a bit like Sly And The Family Stone and it crossed the jazz line as well. The whole album has the feel of some Mediterranean place that doesn't exist, and place to wallow in; it's very languid. It's Impressionist music that came from a terraced house in Manchester!"

"I got into this a few years back when I was really getting going with the solo thing. I thought, “This is unusual.” It reminds me a bit of ESG. I really love that delivery – those female vocals that have a drive, power and confidence but are punk and not flying around everywhere. It’s edgy and cuts through in a really cool way. It’s so refreshing in these days of immediacy to hear something like this. I hear some debut EPs that sound like really expensive records and you think, “Where’s the growth coming from here?” When we first started out it was always about playing together ’cos there was no other option – I was too young to get a gig and I wasn’t allowed in venues – so you play, write, mess around and watch movies. There were no distractions, we were just a gang in a living room in front of an open fire, messing around. We did some quick bashed-out B-sides and ropey gigs but it was about the attitude. I wish I saw more uncertainty and vulnerability in young artists."