"Tales Of Terror were this band from Sacramento. Unfortunately this record hasn't physically been reissued yet. They came through Seattle and played a show. It was random, nobody had heard of them, they hadn't got a record out. It was at an all-ages venue where you'd just go for something to do and this band came on and destroyed the place. And this was probably around '84 so at that point I was kind of looking for other things besides hardcore, which I was much more into a year or two previously. Green River had started at this point and I was trying to do something a bit differently, and this band came out and among the covers they played they did 'Search and Destroy' and 'Spanish Castle Magic' and everyone in the band was just an awesome, crazed musician. The singer would do backflips and land on his feet and by the end of the set all of them except for the drummer were wrapped up in cords. Somehow they all got tangled up and it didn't seem like something pre-planned, it was the natural course of events for that particular show. They were just wild, wild dudes and unfortunately a couple of them are dead now, and one of them is severely debilitated due to too much drugs, which is kind of a bummer. They were the kind of people who were just up for everything and they'd push whatever boundaries and envelopes there were. Supposedly they would carry a blender with them and they'd just put whatever in the blender. They'd go to someone's house, find the alcohol and weird shit from the fridge and put it in and then they'd drink it. I even heard they would put dirt in it. I don't know if that's true, it seems a little over the top. They were a great band that unfortunately only lasted for one record. The only flaw of that record is that it starts off with a cover of 'Hound Dog' but once they kick into their own songs after that it's a fantastic fucking record. It's really super loose. The record seems like you can almost hear them getting drunker and drunker as everything continues. Green River covered one of their songs from that record - a song called 'Ozzie' - we didn't do it nearly as good but... we did it. They were a big influence in our approach to live performance. Unfortunately I don't have the limberness and the wherewithal to do that now. There was one crazy Mudhoney show at the School of Oriental and African Studies in London where everybody tried to fit up on stage."

"I was later than James on Public Enemy, he’d be copying all the raps. You’d go down his house and he’d be rapping ‘It Takes A Nation Of Millions’ to the record, like I’d be singing along to Ian McCulloch, which was really disconcerting - he really nailed it. I guess <>i>Fear Of A Black Planet is the bigger, more obvious album but it just felt like the rap equivalent of London Calling to me. It was really extensive and scattershot, obviously ‘Fight The Power’ was the main point of entry, but ‘Burn Hollywood Burn’ and ‘Who Stole The Soul?’ in particular are some of the best angry lyrics ever written. It felt like some sort of peak. I love the idea of NWA being the nihilistic, horrible Sex Pistols and Public Enemy being The Clash. I always loved those comparisons, and that album reminded me of a time when you thought things were possible. Before you were defeated."

"It’s astonishing; one of those soundscape albums where the songs barely hold together, but somehow they do, so beautifully and so delicately. They’re like hymns, all of them. There’s a very spiritual quality to the chord sequences, straight from the church. It’s worshipful and soulful. In some ways it relates to Talk Talk’s last works. But they have that dark, dubstep feel to them as well. I just love the way he deconstructs songs. After I’d bought the album, it was on in a people carrier when we were being driven to a festival somewhere, and everybody was saying, "this is really dreary", but I had to pipe up and say, "actually it’s one of my favourite albums at the moment so can we leave it on?" I felt connected to it. I thought, "this isn’t dreary; it’s making me feel uplifted." I like what he does. I like anyone who takes songs and challenges the notion of song structures."