"I discovered him at university when I was 20. The first thing I ever heard was 'Come Out' which has a sampled voice that just keeps saying "blood, come out" and it just keeps beating, so this was Steve Reich's very early tape phase experiments where he stuck it on two tapes and would press play at the same time and they start off together and then gradually start to move apart. First of all you get an echo on the vocal, and then as the two vocals move away it starts to kind of [imitates the sound], and it's so trippy it's amazing. I feel like it's the earliest rap or something, it’s got this really amazing sample, this guy who's street, the way he's talking - his accent's amazing and authentic, and then you just have like the rhythm that's created through words. Percussiveness and then there's ... syncopation starts happening and it's constantly evolving, moving, different rhythms, and that's basically his thing. 'Come Out' inspired me when I was at uni. I made a tape and slide piece, which is this projected piece that you animate using different slides. [Reich]'s using really graphic, violent imagery and I got a little boy to talk about fights at school, he was like six! I was asking how he felt about the fighting, has anyone ever tried to punch him, how does it feel? And I put his voice along with all these images of men fighting, and I phased it and did weird things to it, laid them all on top of each other, just experimenting in my own way with that. But that really inspired me and I started to delve more into Steve Reich. There are some preachers which he did tape phase experiments with, like "it's gonna raiiiiin, it's gonna rain!", such a musicality to what he's doing even though what he was doing was very conceptual. Again, it was a very rigid, composer-y thing to do, which is to set up a tape experiment, but within that he chose words and expressions that are really emotional and move through all different phases, making you think about all sorts of things and culturally, politically, there's a lot behind it. And then on this [Works] there's 'Music for 18 Musicians' which I absolutely love. Eighteen musicians would sit round, play their rhythm and then the next person would start a fraction of a second after them so they'd be in sync sometimes all playing the same thing but with a slightly different time part, so it totally fucked your brain. But the sounds that come out: you get all these weird intervals, syncopations, harmonies, rhythmic counterparts that are happening but the key that he chooses is heartbreaking and amazing as well. There are certain notes and harmonies, certain two notes will just start to really vibrate together and it just starts to create an amazing cinematic, filmic burst of ideas in my mind. It's almost like meditation or mantras, Ravi Shankar or something for me, Reich has done a similar thing. Like it just keeps on going round and round and then you get drones and then other drones come in and then they create textures that are moving all the time, so it's almost like a meditative state that you get into."

"George Clinton is very important to us. In fact, George, Sly Stone, Miles Davis and Curtis Mayfield are all people we're inspired by and look up to. I'm lucky to have become friends with George. We played a show last year with his band in London and he's just an amazing guy. I remember getting this album, listening to it and thinking, "Free your mind and the rest will follow." It's free, psychedelic, sexualised funk. Also, there are incredible lyrics. George is a great lyricist, one of the best. On one track, George was told to play a guitar solo and imagine that he was just told that his mother had died. Funkadelic can go from real, emotional, plaintive with a song like 'Maggot Brain' to a big, acoustic funk track. The message from the band is that you can do anything. George had many great musicians in his band and he changed it around, you just never know who was going to play on the track. It always sounds like Funkadelic because of George's vision."

"The first thing I should say is that it's not necessarily in order of favouritism. It was purely just well, what can I put down, and then rifling through and changing my mind and then going on to something else. But Flipron are a band that when I had a recording studio they turned up and said something like we've got a hundred quid, how much time can we have. And I just really liked them and I really liked the songs that they'd got. So two years later they were in the studio and we became firm friends. I produced a couple of records for them as well. But it's a funny thing because I prefer the stuff I wasn't involved with, of which this album is one. My studio closed down and we all went off and did our own thing and then they turned up with their first two albums. And with this one I just really love the songs on it. Each one is kind of like a story."

"The Horrors were recently on the tour bus discussing which is our favourite Iggy Pop song. It didn’t even have to be an Iggy song, just a song that he was involved in. My mind went instantly to The Stooges, who are one of the all-time great bands. The Horrors played Rock The House Festival with The Stooges years ago, back in 2007. I was only 21 years old and I got to interview Iggy Pop for NME. I loved The Stooges and talked about them with Iggy Pop for the whole interview. Looking back on it I would have wanted to talk to him about his solo records, because The Idiot is just a brilliant piece of music and interesting in that it’s kind of an early incarnation of industrial music. 'Mass Production’ is so warped, the synth at the end comes in perfectly out of tune – it just sounds brilliant. The first time I heard it I was going through the Bowie in Berlin book shortly after I interviewed Iggy Pop. I’d listened to The Stooges loads, MC5 were one of my favourite bands as a kid and I was looking for something that had this sort of factory made heaviness to it. The song is so dystopian, and dystopian music is definitely something The Horrors do. Most of the songs coming out around that time were emotion led, but ‘Mass Production’ is bleaker. It’s the kind of song you’d listen to at the end of the night when things start to go a bit south. In just one song it sounds like a full body of work and I still listen to it frequently now. Although The Idiot isn’t necessarily representative of Iggy Pop’s work, it does feel just like him to me. If I was to pick something representative of Iggy Pop then I would probably choose the Stooges’ song ‘I’m Sick of You’. In some ways maybe ‘Mass Production’ is more of a Bowie expression, but they clearly built up an amazing rapport and these two creatives made something that perhaps they couldn’t have made on their own and that makes it unique. It feels like a once in a lifetime pairing. I just think Iggy Pop is one of the greatest of all time. He’s an all-time icon of music and expression. And he’s also a great guy, you can get that just by listening to his radio show. People always say things like ‘Don’t meet your heroes’ or whatever, but I don’t need the musicians I respect to be nice people or people I can be friends with. It just so happened that Iggy Pop was a kind guy. And that made it really enjoyable."

"I remember buying the tape of this song. I must have killed that tape, I rewound it and rewound it. I think that was my first recognition of realising that I was in love with pop music and how it’s so addictive and how it made me feel. Even now, if I hear those opening bass notes I’m like ‘Fuck! It’s so good!’ It hit such a chord inside. “I think with ‘Without You’ and ‘It’s All Coming Back To Me Now’ they were me experiencing just the songs, but this was like ‘Oh my god, I love Britney’, I became obsessed with her as a pop star. The song definitely has the power of attraction and falling in love, being able to repeat, repeat, repeat and it’s such a good melody, but also Britney was an icon from day one. I felt like I just wanted to be like her. “I would watch the music video over and over on TV and that’s when I fell in love with pop music as a thing. I didn’t even know what it was, but I knew I wanted to be part of it. I liked the simple production back then too, it was so non-aggressive. I find a lot of the production in pop so aggressive now, whereas Britney was just so fucking pure, it was easy on the ears and I wanted to hear it over and over. “Britney takes me right back, like I can feel, I can see, I’m in the back of my mum’s car, I’m looking at the tape player, hitting rewind. I can see that and I’m like a zombie. I’m here going… [tape rewind sounds]. If someone puts on '...Baby One More Time' I’m ‘Oh god, turn it up! I have the same love for it each time, it’s amazing."

"It's black rock & roll basically - it's a way of being offensive. Turn up loud and say 'Fuck you'. It's a great album just the whole way through. Its R n B but it has some hip hop in it, but it wasn't sappy 'I'm going to love you to that sky falls' stuff - I don't like that kind of shit. And then, I kind think back now how it used [producer] Kyle West - his name was mentioned throughout. 'Kyle West break it down...' he shouted himself out in those tracks. I've never seen Kyle West, I don't know who he is. He's like a mystery, but his name stays with me, and that’s one reason why this album sticks out - you think, 'I wonder what happened to him?' If that one moment is never recaptured by an artist, you know even moreso that that moment was special. Al B Sure! never really did it again like with In Effect Mode, but he was on top with that record."