"This would be the opposite to a lot of the records we've been talking about - it's complicated, there's a lot of instrumentation going on. That's one of the things I really like about Tortoise, they can play all that stuff live and pull it off. I think they have nine members sometimes, maybe even more, but it's one of those records where it's a really cool electronic record but it's actually really organic because these guys are really playing. Those two things are so different and so hard to blend well, I've tried it myself and failed often, it's hard to do. The musicianship needs to be there, and the programming needs to be right - I may be wrong but I think a lot of those type of songs are created electronically and then people try to interpret them, but with Tortoise I don't know how it starts - do they start organically and then interpret them electronically? Especially with Standards, it's a perfect blend of the two. I definitely feel an affinity with post rock groups like Tortoise, maybe people like Shellac as well."

"What a great singer, what a great record. I was living in West London in Notting Hill when I heard this. It felt like the time I was living in. I think it's an extraordinary production, the whole piece, and it doesn't matter whether you believe that it is politics, propaganda or poetry, the voice I think is just incredible. I take it as all three... it depends on de 'erb man. It'd be so addictive to play bass like that, so I've always avoided it. Roundabout '76, '77, it was like hearing Blue Beat in shebeens in Notting Hill. That was understanding something else, detuned basses, that was all about sonics. And then the act of actually playing something so melodic would seem even more perverse. It really informs electronic music. Physically it is really enjoyable to play bass - there's a similar element to playing sport, that sense of coordination and being involved in an activity with other people. There were times when, and particularly on our 'Drill' marathons, you really do get beyond pain and an outer body experience, which is of course indescribable, and that's exciting."

"This is quite a diverse one compared to the rest of them. I'm pretty sure it was my first introduction to dance music full stop. Somehow my brother ended up with it (he was four years older so a lot of stuff I like came through him). He came along with this album called K-Klass, and I didn't even know how to say it. When I first listened to it, I didn't understand how it was made or what it was or what I was listening to. It was really just early 90s standard dance music with house vocals. I remember dancing to it with my sisters and my parents not really getting it. And so I thought, ""Well if my parents don't get it, maybe this is the cool new thing!"" I was only about 7, a chubby little kid dancing around to this stupid music. But it gave me a sense of something I had never felt, which was a sense of ownership of music. These sounds were truly new, my parents didn't have them and we did. It spurred me into more electronic music as a kid."