"It's simply a favourite piece of music. There are a lot of associations. I was listening to it around the time my daughter was born. She used to fall asleep to this occasionally. It reminds me of travelling around America back in the day when you had to carry around bags of cassettes and Walkmans. It's brilliant for train journeys and even now when I find myself on the motorway, Octet is the perfect listen for me. It reminds me of driving from Bath, where I lived at time, to London, to Richmond. It's just stuck with me for most of my life. Growing up we had Drumming in the house, my dad got that for next to nothing from the same charity shop. That's just repetitive patterns for a few hours, it's hard going really. If you came to Steve Reich from that idea, you'd think it was just academic music and not for enjoyment's sake and dismiss it. I was lucky to pick up a book from a book shop in St Helens, New Sounds: A Listener's Guide To New Music, by this New York radio presenter, John Schaefer – it was like the holy grail for me. I found that book in about '91 and it was a pretty rare thing at the time in that it had measured discussion on things like Stockhausen. We've got The Wire now, for good or bad, but to find that book at the time in St Helens was amazing really. By the time I got to America I had a shopping list of things I had to hear, like Paul Dresher, early John Adams pieces, things like that. I think the common thread with things like this is that you're constantly looking for the up and down stream of things – the connections, where something came from and what came out of it; how it got finessed or improved or whatever. I think with Octet, I'm not really that interested, it's just that piece of music. It's another world in itself."

"Of all the records I've chosen here, they all changed my life in some way but the one that had the most profound impact on me was Public Enemy's It Takes A Nation Of Millions To Hold Us Back. This just blew me away because it was one of those moments in my life where I was like 'How do you do this?' Some of the other records I'd listened to at the time, I'd managed to figure out how they'd done stuff, how they made a certain sound. As a musician, when somebody comes along and does something that you never thought of, that you didn't know was humanly possible and it just twists fucking everything you thought was possible up in your brain, that's a big fucking impact. That was the impact of Public Enemy to me. My first thought was: 'I need to figure this shit out. What the fuck is this?' I was just a kid listening to this but I just didn't know what they were doing and I was hungry to know. I was a Public Enemy fan from the very first album. When this album came out in 1988, it revolutionised sound and music: it was like a fucking tsunami of sound coming at you. Everything about them was brand new and different and I just listened to them as a nineteen-year-old kid with my mouth open thinking: 'What the fuck?' Public Enemy were probably the pinnacle of music production and the best band in the world at that time. They were easily one of the best production teams in the world in any genre of music back then. Like so many of the records I'm picking, this was like a genre changing historical landmark piece; it wasn't just a record that was put out – this was a record changing the culture and the way that people explored music. They were always a voice for the dispossessed, but they never ever felt preachy with it, which I liked so much."

"I also love Dr. Seuss’ How the Grinch Stole Christmas. I just think that Ron Howard‘s a genius along with Jim Carrey. Jim Carrey was the Grinch for real. Like, he is the Grinch. He was funny. The part where he just goes to his house and closes the door and says, “I’ve got everything I need right here.” And he didn’t have everything he needed there, but he thought he did. He was just kind of a lonely guy."