"This is off the back of Faust IV being my all-time favourite record. Fille Qui Mousse translates to 'Girl Foam' which is the best name for a project. I found this, again, about a year-and-a-half ago when we were trying to buy records for the apartment. I was in a record shop called Permanent Records in Eagle Rock [in Los Angeles]. I sometimes struggle going to record shops as they are often overwhelming, but in Permanent Records everything was in its right place and the staff would write little notes on the records. There was a sticker that said, ""Do you like Faust IV? Then you will love this record!"" That was enough for me, so I bought it. It's one of those records I put on when I have started cooking or something and I will forget that the record is on. Something will happen on the record and I will think, ""Oh my god, this is amazing!"" It is just the spilling out of someone's brains – it's playful and has hints of the United States Of America at points but then it is totally steeped in this weird jazz-Krautrock. There is a track on it called 'Magic-Bag' which is just the guy singing along to the drums and playing the same rhythm as what he is singing and there is water running in the background. The first time I took notice of the song I thought it was so shit. I don't know exactly what he is singing, but it sounds like ""I like my chunky rocky lane"" and then there is a huge gap and there is water running and he comes back singing ""I like my chunky rocky lane"". The fact that he liked his 'chunky rocky lane' made me realise it was one of the best songs on the album. It's a record that can suddenly surprise you. It's when you are trying to get your teeth into something and at the beginning it is difficult but it keeps reappearing and ends up being something absolutely incredible that you end up loving. It's hugely playful, weird and beautiful at points and abrasive at others. It's huge fun to listen to."

"This is when I was at Art School, on foundation, in Winchester. I went early for the term that starts around May, wandered into town and the local record shop was having a sale. There were two records I bought cheap that day: A Wizard, A True Star by Todd Rundgren, and Can't Buy A Thrill by Steely Dan. Those two records I must've listened to a billion times. A Wizard, A True Star is a truly bonkers record. I don't know if someone who didn't know anything about Todd Rundgren could go back and listen to it today and get anything about it. It starts with 'International Feel' with this semi-cosmic synth riff, which goes down through beats into this song with really loud drums on it, and then peters out and suddenly it's the song from The Wizard Of Oz! But that's Rundgren, really. I just sat in my room and listened to it thinking ""this is fantastic!"" Mild hallucinogens may be useful in its appreciation. Mike Barnes, the journalist, is a friend of mine and a few years back we went to see Todd Rundgren play A Wizard, A True Star live in its entirety. And what Mike said about Todd is you just have to go with it, basically. It doesn't make any sense. It goes from the sublime to the ridiculous, and there almost seems to be no taste filter with Todd. There's a book called Todd Rundgren In The Studio, and he's supposed to be this studio wizard but you realise after reading it that he's completely slapdash! He's such a messy producer! He made a huge amount of money out of Bat Out Of Hell, but he got kicked off the project as a producer because they didn't like any of his mixes. But he believed in the project so much he invested in it, and ended up taking a percentage on it and made a fortune from it. That shows that he's someone who is smart but won't necessarily attend to details, and will still maintain goodwill towards a project he's been sacked from. I like that; I admire that."