"I love this record from Grime, who's in LA's WeDidIt collective. It never fails to get a big reaction."

"Lyrically Dizzee Rascal is phenomenal, and musically he's one of the most progressive, forward thinking grime artists and musicians of our time. He won the Mercury Prize over ten years [before Skepta], which says it all. This record was what I listened to when I was commuting to and from Slough, when I was just starting Gallows, I was listening to it nonstop. I've loved grime since I was young, I've always loved hip hop but grime was so quintessentially British, you couldn't have made it anywhere else. To me grime is punk, more now than ever. Punk to me was the sound of disenfranchised youth, and that's what grime is. You take everything away from young people and tell them what they can't do, at some point they're going to say 'yes we can', and that's what's happening now. They feel discriminated against and now they're making the right fucking decisions by showing that. I think it's a classic record. What's really nice to see is that back when this arrived on the scene it was still very much about beef in the grime scene, people were still writing diss tracks, whereas what's happened recently is that when he played those tenth anniversary shows you just see everybody celebrating it, celebrating the fact that here's an album that did so much over a decade ago, and now we've just had a second [grime Mercury Prize winner]. I love that, but my problem is that there haven't been more. I love that these are being used as bookmarkers, as milestones, but we need a lot more than that, more progressive, forward thinking, unique individuals. That's what the Mercury Prize is supposed to be for, though it misses more than it hits."

"Obviously, I'd been listening to hip hop since the mid-80s and kept half an eye on all that stuff as it grew. I was involved in rave culture really early, Spiral Tribe raves and stuff like that and clubbing in Leeds in the early 90s. There was always this really hard UK Garage sound that was great. I loved it. Wiley's come from being a kind of garage MC, one of those guys we listened to on pirate radio in Leeds. He's still got that really underground sound, the way he spits and he never loses that energy either. I was listening to his first album the other day and it still sounds like the future to me. It sounds so contemporary. When you actually analyse grime rhythms, a lot of it is from Nubian rhythms and a lot of the scales are Nubian scales, Algerian scales. When you hear grime, it just sounds like someone's car in the street in London. But then you analyse it and you realise there's all these global influences - it sounds like the whole world. This is what I wanted Melt Yourself Down to be. I wanted to try and create a sound that felt like the whole world."