"This is such an important record. It spawned a whole scene of music. You talk to any electronic musicians from the 90s onwards, and they'll say that. And they were just two boys from Leeds. I haven't seen him for a long while, but we worked with Gez, G-Man, we released his records in the 90s and I know what kind of guy he is. But I'd also spoken to Mark Bell, and Mark was very different. When I talk to Gez, I just talk to someone who's made a record, and he's just talking about his music. Mark was very clever and he was obviously the thinker of the two of them. But that combination of the two of them, those two guys: the title track with that bass, and 'Simon From Sydney', again it's a record that we've listened to a billion times. Gez used to say that they were part of a breakdancing crew, they were just mates, and they were so young when that record came out. I think they were 19, and they had a song in the top 20 and somebody on Radio 1 said their music was awful or something like that. They had everything happening at once at a very young age. I'm sure it affected them. But LFO were lads, you know. It wasn't high concept. It was dancefloor. That was what they were trying to do: to move people's butts and shake the bottom end."

"Another incredible record. Was I always into electronic music? Well, I've always liked all kinds of music but I really like pop tunes. I don't think there's any more validity to an Al Green record over an ABBA record. Some of the ABBA records are absolutely amazing. I met one of he guys who drummed on pretty much all of them and he's a phenomenal drummer. Ludicrous! His name is Per Lindvall. And I kind of think the musicianship is all there, it's just that they were very, very, very, popular records. It's one of the curses of certain bands. They become so big that people don't take them seriously anymore. I don't think anyone is going to take me seriously any more because my first record was 'Never Gonna Give You Up' which is a pop – of its time – dancefloor filler. Handbags on the floor, Saturday night record. That's what it is. And I think once you've nailed [your colours] to the mast, you ain't changing that. I never tried to fight it. It's also why some people drive themselves mad. I'd like to be known as someone who can write a tune and sing one but if people want to put me in a category that other people see as derogatory, I probably don't fight it because I don't want to hurt myself. I played every note on my last record [2016's 50] and it went platinum. Does anybody care? I don't know."

"I've been a fan of his since the start, when I heard ‘Didgeridoo'... At our age it was an interesting time, because it was the start of dance culture as we know it, but also I was young enough when I first heard it that I didn't differentiate between hearing a Mary Chain song or hearing an Orb song or a KLF song or a Loop song. I guess of all the bands or musicians that I heard around that first wave of electronic music, I think Richard James is the guy that's continued and kept a high standard and evolved what he did. I mean, that Richard D James record, if you went and listened to half of the brand new IDM vomit they'd be shitty copies of that. What makes his music is so special is that as well as being amazing at concocting interesting sounds and rhythms, he's also musically always doing something brilliant. The piano songs on the Drukqs album are unbelievable. Talking about that, it's completely irrelevant to this, but the most annoyed I've ever got at a music review is the review of Drukqs in Uncut where the journalist said there's no point in making solo piano music because you'd never do anything as good as Satie or Chopin. Well let's just fucking go home then! But anyway. To be able to marry the playfulness with the beauty and the melancholic element, that's just incredible."

"""Ben Vida is a composer and sound artist whose work I really love. This record he did pairing his idiosyncratic electronic voice with percussion is a favourite. I suppose everyone I have given on this list has a strong character. The thing I love about Ben too is that he's so good at synthesising sounds and he has such a strong compositional voice. But his music has such a great sense of humour too – some of the sounds are absurd. They are really high quality, well made objects, but in a lot of ways it's so funny. I'm always excited to listen to anything that Ben does. And it's great to get a chance to work with him too. He's been a long time collaborator. I also sought him out to work with me as a performer on my HIVE project. When I first started the project, it was this installation where there were these five wooden mushroom-like pods. It's a piece for three percussionists and two modular synths. Being a fan of his music and having known him for a couple of years, I asked him to do that with me. And so we ended up touring that around together. I ended up adding some vocals to some records that he did. He did a record called Slipping Control a couple of years ago, that I worked on with him. So it's been a very rich creative relationship."""